Muzej Za Umjetnost I Obrt / Museum of Arts and Crafts 4. – 28. 9. 2014

croatian design review 1314

Muzej za umjetnost i obrt / Museum of Arts and Crafts 4. – 28. 9. 2014.

1 ISBN 978-953-6778-09-6 croatian design review 1314

Sadržaj / Contents

Uvodna riječ / Introduction (Ivana Borovnjak) 5 / 7

Nevolje samoreprezentacije / The Troubles of Self-Representation (Marko Golub) 9 / 13

Bogdan Budimirov – Nagrada za životno djelo / Bogdan Budimirov – Lifetime Achievement Award (Maroje Mrduljaš) 21 / 25

Ocjenjivački sud / Jury 30

Jan Boelen: Institucija kao uređaj za osvještavanje / Institution as an Awareness Machine (Bojan Krištofić) 39

Armin Vit: Radimo stvari koje bismo, kao grafički dizajneri, voljeli čitati, gledati, kupovati ili u njima sudjelovati / Doing things that we, as Graphic Designers, would like to read, see, buy, or attend (Marko Golub) 45

Dizajn vizualnih komunikacija / Visual Communications Design (Vanja Cuculić) 54 / 56

Industrijski / produkt dizajn / Industrial / Product Design (Tihana Taraba) 58 / 60

Dizajn u digitalnim medijima / dizajn interakcija / Design and Digital Media / Interaction Design (Tin Kadoić) 62 / 64

Modni i odjevni dizajn / Fashion and clothing design (Branka Donassy) 66 / 68

Profesionalni dizajn / Professional Design

Dizajn vizualnih komunikacija / Visual Communications Design 74

Dizajn u digitalnim medijima / dizajn interakcija / Design and Digital Media / Interaction Design 242

Industrijski / produkt dizajn / Industrial / Product Design 266 Pregled Hrvatskog dizajna 1314

Prostorne i grafičke intervencije i sistemi / Spatial and Graphic Interventions and Systems 300

Modni i odjevni dizajn / Fashion and Clothing Design 322

Koncept / Concept 336

Studentski dizajn / Student Design

Dizajn vizualnih komunikacija / Visual Communications Design 362

Dizajn u digitalnim medijima / dizajn interakcija / Design and Digital Media / Interaction Design 388

Industrijski / produkt dizajn / Industrial / Product Design 396

Prostorne i grafičke intervencije i sistemi / Spatial and Graphic Interventions and System 406

Modni i odjevni dizajn / Fashion and Clothing Design 410

Koncept / Concept 414

Aktivnosti u organizaciji Hrvatskog dizajnerskog društva – rujan 2012. – srpanj 2014. / Activities organised by the Croatian Designers Association – September 2012 – July 2014

Projekti i događanja / Projects and Events 428

Natječaji / Competitions 437

HDD galerija / HDD Gallery 440

Dizajnerska početnica / Design 101 454

Kazalo / Index 456 croatian design review 1314

Uvodna riječ

Ivana Borovnjak

Od prve Izložbe hrvatskog dizajna 01 u Galeriji Forum 1999. godine do danas prošlo je 15 godina, a izložba 1314 osma je po redu takva manifestacija u organizaciji Hrvatskog dizajnerskog društva. U međuvremenu je uspostavljen bijenalni ritam održavanja koji predstavlja recentnu dizajnersku produkciju iz područja dizajna vizualnih komunikacija, dizajna u digitalnim medijima i dizajna interakcija, produkt dizajna, modnog dizajna i dizajna koncepata. Proširenje kategorija u odnosu na prve izložbe, nužnost je koja prati hibridizaciju dizajna uslijed brzih socijalnih i kulturoloških promjena. U prilog tome da je potrebna još radikalnija revizija ovakve kategorizacije govori činjenica da se na svaku sljedeću izložbu prijavljuje čitav niz najrazličitijih projekata – od eksperimentalnih do istraživačkih i konceptualnih – koje sve prati jedna te ista poveznica, a to je generalna tendencija brisanja granica među disciplinama i sve teže podvlačenje jasne crte između pojedinih povijesno etabliranih kategorizacija. Primjena dizajnerske metodologije u procesu mišljenja i stvaranja unutar različitih sfera društvenog djelovanja jedna je od bitnih odrednica same naše discipline danas.

Istovremeno, u Hrvatskoj još uvijek postoji potreba da se dizajn snažnije legitimira kao profesija. U tom su smislu posljednjih godina kroz djelovanje strukovnih udruženja i visokoškolskih ustanova učinjeni veliki koraci, te se danas u određenoj mjeri već može govoriti o prepoznatljivosti hrvatskog dizajna ili barem pojedinačnih autora na regionalnoj i svjetskoj razini, posebice u nekim subspecijalističkim stvaralačkim granama, ali i o generalno jako dobroj recepciji hrvatskog dizajna od domaće publike. Svjesni napor doveo je, osim u dizajnu vizualnih komunikacija, i do snažnog profiliranja produkt i modnih dizajnera, što je evidentno i kroz količinu ovogodišnjih izložbenih prijava. Zanimljiv je, međutim, nesrazmjer između broja stasalih dizajnera s artikuliranim stavovima i infrastruk- turne podrške u obrtničkoj i industrijskoj proizvodnji, koja izostaje zahvaljujući vrlo lošoj međusektorskoj povezanosti i nedostatku obrazovanih menadžera i teoretičara dizajna. Feno- men inflacije dizajnerskih prototipova koji najčešće još uvijek zapnu prilikom samog početka proizvodnje ili se proizvode u limitiranim serijama, zato je još uvijek najčešća slika stvarnosti. Na sreću ili ne, usmjerenost europskih fondova za kulturu na dizajn i kreativne industrije možda je pretpostavka za svjetliju budućnost suživota dizajna i gospodarstva, te dizajna i kritike.

U području vizualnih komunikacija kroz prijave se može iščita- ti svojevrsna stagnacija proizvodnje uvjetovana višegodišnjim

ivana borovnjak: introduction 5 Pregled Hrvatskog dizajna 1314

stanjem krize, ali u konačnici je ipak vidljiv i kontinuirani rast kvalitete, pogotovo studijskih projekata koji mada često isfor- sirani u kalup socijalno angažiranog, pokazuju znatan pomak u odnosu na donedavnu dominantnu orijentiranost prema projektima u službi oglašavanja. Sve veći broj novootvorenih dizajnerskih škola i fakulteta u zemlji i regiji, razmjena studenata i fluktuacija znanja obećava zdraviji i raznolikiji pristup dizajniranju. U konačnici, izbor radova na izložbi koji su predstavljeni ovim katalogom samo je jedan od mogućih scenarija prezentacije suvremene dizajnerske produkcije. U budućnosti bi zbog svih gore navedenih razloga trebalo razmisliti koji su alternativni načini predstavljanja dizajna javnosti. Možda će jedan od prvih takvih pokušaja preobrazbe konzervativnog izložbenog formata u regiji – BIO50 sa svojom koncepcijom interaktivnih i multidisciplinarnih stvaralačkih platformi kroz široko umrežavanje pojedinaca i institucija – poslužiti kao pokazatelj nužnosti promjene u prezentiranju, dizajna koja vodi intelektualnom i društvenom napretku, a ne udo- voljava isključivo galerijskom i muzejskom okviru za koji je izvorno osmišljen.

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Introduction

Ivana Borovnjak

Fifteen years have passed since the first exhibition of Croatian design titled 01 and organized at the Forum Gallery in 1999, and this year’s 1314 exhibition is the eight exhibition organized by the Croatian Designers’ Association. In the meantime, the exhibition got a biennial rhythm to showcase the latest design production in various fields such as visual communications, digital media and interaction design, product design, fashion design and concept design. The categories have been expanded in comparison with the first exhibition, which is a necessity that follows the hybridization of design due to rapid social and cultural changes. Additionally, there is a need to radically revise this categorization because every new exhibition sees a whole range of very diversified projects – from those experimental ones to the conceptual ones and those focused on research. All those projects have something in common: general tendency to wipe out all boundaries between the disciplines and difficulty to draw a clear line delimiting individual historically established categories. The application of design methodology in the creation process within various spheres of social activism figures as one on the most important characteristics of our discipline today.

At the same time, we see that in Croatia there is still a need to legitimize design as a profession. In that sense there have been some serious improvements in terms of involvement of professional associations and institutions of higher education so that it is possible to talk about recognisability of Croatian design or, at least, some individual designers active on the regional and international level, especially in some subspecialized branches. It is also possible to conclude that Croatian design is generally well received by the domestic audience. Apart from the visual communications design category, continuous efforts have lead to stronger profiling of product and fashion designers, which is particularly evident in the quantity of this year’s applications. However, it is interesting to see a discre- pancy between the number of fully-fledged designers with articulated positions and the infrastructural support in crafts and industrial production, which is still missing due to very poor links between various sectors and the lack of educated managers and design theoreticians. In most cases, in the reality we are faced with the phenomenon of the inflation of design prototypes that usually stumble upon difficulties in the early phases of production or reach the production only in limited editions. Luckily or not, the European funds for culture oriented to design and creative industries might be a presumption for a better future where design and economy or design and professional evaluation might co-exist.

ivana borovnjak: introduction 7 Pregled Hrvatskog dizajna 1314

Various applications for visual communications design indicate a kind of stagnation in the production conditioned by several years of economic crises, but ultimately there is an obvious and continuous tendency for improved quality, especially in study projects which, despite of being moulded in the category of socially engaged projects, still demonstrate an important step forward as compared to the so far dominant orientation towards various projects put in the service of marketing. There are more and more newly established design schools and colleges in the country and the region followed by many student exchange programmes and a fluctuation of knowledge promising a healthier and more diversified approach to design. Finally, the works selected for this year’s exhibition and presented in this catalogue make only one of the possible scenarios to present contemporary design production. Due to all above-mentioned reasons, in the future we should all consider some alternative ways to present design to the public. Maybe one of the first attempts in that sense should focus on the transformation of the conservative exhibition format in the region– the BIO50 with its concept focused on interactive and multi-disciplinary creative platforms through a wide network of individuals and institutions could serve as an indicator that something needs to be changed in terms of design presentation which should lead to social and intellectual development and go beyond the framework of gallery and museum projects from which it initially emerged.

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Nevolje samoreprezentacije

Marko Golub

Katalog koji držite u rukama je pozamašan. On je takav zato što je u njemu jako, jako puno dobrog dizajna. Hrvatska dizajnerska scena je u razdoblju od prve HDD-ove bijenalne izložbe 1999. do danas značajno sazrela, kvalitativno i brojčano više- struko narasla, povećao se broj fakulteta koji obrazuju mlade dizajnere, generacijski je konstantno mlada, svježa i uglavnom dobro raspoložena. Sama Izložba je pak ostala u tradicionalnom revijalnom formatu, prilično rigidna u klasificiranju radova u strogo određene kategorije (vizualne komunikacije, produkt, moda, elektronski mediji, koncept, prostorna grafika i signalizacija), s poslovično ništa manje strogim žirijem koji doista nastoji pažljivo probrati samo one radove koji će reprezentirati najbolje standarde dizajnerske produkcije. Spomenuta struk- turna rigidnost ima svoje razloge, jer je od početka bilo važno da izložba omogućava lako čitanje i dijagnosticiranje stanja u svakom od područja dizajnerskog djelovanja. Preciznije, da ne skriva stagnaciju jednog segmenta produkcije trijumfalnim dosezima nekog njenog drugog dijela. Kompleksni radovi koji graniče s više kategorija obično se razmatraju i pokazuju u onom aspektu u kojem su se pokazali najuspješnijima. I dalje je to u dominantnoj mjeri izložba predmeta, koja ne rasvjetljava uvijek u potpunosti plastično njihov kontekst, razloge i procese nastanka. Ona ne priča izravno priču, ali daje elemente iz kojih se priča može ispričati.

Letimičnim pregledom je, primjerice, razvidno da je produkcija u području vizualnih komunikacija i dalje brojčano superiorna u odnosu na ostale, kao i da je kvalitativno najstabilnija. Sred- nja generacija nastupa sa svojevrsnim suzdržanim dignitetom, sklonija zadržati prepoznatljive elemente već formiranih autorskih jezika, dok je ona najmlađa otvorenija eksperimentu, samopouzdanija i ohrabrena stečenim kompetencijama đu- rek-bralićevske tipografske škole čiji se utjecaj itekako osjeća i u studentskim i u profesionalnim kategorijama. Primjećuje se i određena težnja sofisticiranosti u vizualnom komuniciranju – malo tko igra na prvu loptu, cijeni se dizajn koji je promišljen, dobro informiran, evokativan, asocijativan, elokventan u svojim referencijama, nema tu ničeg pretjerano 'visceralnog'. Dio autora svjesno prisvaja i reciklira obrasce vernakularne i ulične kulture, a obavezno se barem malo eksperimentira s medijem tiska, knjige i drugih formata. Kao i ranijih godina, većinom su to radovi za klijente iz područja nezavisne i institucionalne kulture. Prisutnost oglašivačkih agencija je razmjerno mala i

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dragocjena, a i one se većinom predstavljaju radovima iz konteksta kulture i humanitarnih akcija, što je šteta, jer bi upravo na ovakvoj izložbi bilo važno njegovati uvjerljiviju sekciju radova iz područja korporativnog oglašavanja koje ponekad treba promatrati s drugačijeg, ali ne manje relevantnog očišta. Iako zastupljena u nešto manjem opsegu nego ranije, studentska selekcija i ove godine sadrži neke od najboljih radova na cijeloj izložbi, ponajviše u području oblikovanja knjiga i tipografije na zagrebačkom i splitskom studiju, ali i produkt dizajna, te zajedno s prethodnom izložbom (1112) svjedoči o stasavanju iznimno važne i neobično zrele generacije mladih dizajnerica i dizajnera. Osim toga, vrijedi zabilježiti i da na scenu pored zagrebačkog Studija dizajna i splitskog DVK UMAS kao dva vi- sokoprofilirana i daleko najutjecajnija studija, teTTF -a, Agore i riječkog APURI-ja, zasad samo simbolično stupa i novi i vrlo perspektivni odsjek medijskog dizajna Sveučilišta Sjever iz Koprivnice, čije ćemo rezultate sigurno imati priliku vidjeti već na idućoj izložbi.

Velika većina radova zastupljenih u profesionalnoj kategoriji produkt dizajna su samoinicirani radovi, uz zamjetnu prisutnost samo dvaju većih proizvođača – sasvim očekivano, Kvadre i bosanskohercegovačkog Artisana – koji su u proteklih nekoliko godina učvrstili svoj status na tržištu i čije primjere opet vrijedi isticati jer nose važnu poruku ostatku industrije da bez dizajna i bez vlastitih prepoznatljivih proizvoda u najboljem slučaju mogu samo nastaviti životariti. I dok su u javnoj svijesti ovi primjeri već neko vrijeme itekako prisutni – podjednako kao razmjerno široko eksponirani predmeti i kao medijske senzacije – odgovora uopće nije bilo. Nastupile su samo epizode zaglušujuće panike – panika od ulaska u EU, panika od dolaska Ikee, panika zbog nedostatka državnih potpora, panika, panika, panika. Dio odgovornosti leži na državnim institucijama i tiho prekinutoj aktualizaciji Nacionalne strategije dizajna, ali dio i na neosviještenosti činjenice da se reindustrijalizacija ne može provoditi izolirano od šireg društvenog konteksta. Upravo „fe- tiši‘ masovne industrijske proizvodnje i nacionalne ekonomije jesu dio problema. Sami odnosi između proizvođača, dizajnera, distributera i potrošača su dramatično izmijenjeni na globalnoj razini i takva situacija traži odgovore, traži osmišljavanje novih sustava, novih hijerarhija i odnosa. U projektiranju takvih sustava moraju sudjelovati upravo dizajneri, uvažavajući ne samo ekonomske, nego i etičke parametre koji iz diskursa o dizajnu kao akceleratoru gospodarskog rasta i konkurentnosti, pogotovo u vremenu krize, kontinuirano izostaju.

Recentnu produkciju u području produkt dizajna obilježila je i tendencija razvoja vlastitih brendova, pokretanja vlastite proizvodnje u malim serijama, suradnje s obrtnicima i prona- laženja alternativnih načina distribucije na internacionalno tržište. Ovu pojavu ne treba gledati tek u svjetlu uspona neke nove probitačne hibridne vrste dizajnera-poduzetnika, nego kao pokazatelj da su sami dizajneri u potrazi za funkcionalni- jim, utemeljenijim, pravednijim, pa i razumljivijim okvirima i sustavima djelovanja. Svjesno ili nesvjesno, svi oni na malom mjerilu pokušavaju razumjeti što je to što rade, za koga, s kim, koje su stvarne potrebe, gdje su stvarni resursi, tko su i odakle

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stvarni korisnici. Problem s ovim modelom djelovanja, me- đutim, nastaje onda kad se sva njegova slojevitost stavi samo i isključivo u službu proizvodnje i plasmana novih predmeta, odnosno kada jedna u osnovi dobra ideja postane isključivo nositelj tržišne prepoznatljivosti. Tada iza trenutačno pomodne fasade učenja iz moderne i pred-moderne tradicije, iza jednako pomodne dizajnerske reinterpretacije lokalne baštine, iza kon- tekstualnog istraživanja i šarmantnih mikronarativa, nerijetko ostanu puke tričarije, hrpa semantički brbljivih i oku ugodnih, ali zapravo nikome pretjerano potrebnih 'stvari'. Nemojmo si laskati, u porasloj tržišnoj ponudi domaćeg dizajna ima puno tričarija, puno suvenira koji fingiraju upotrebnu vrijednost, puno zgodnih rješenja za probleme koji uopće ne postoje, puno konformizma i vrlo malo ambicije za suočavanje sa stvarnim, svakodnevnim problemima.

To ne znači da njihovi autori nisu dobri, dapače ponekad i iz- vrsni dizajneri, već samo da njihov potencijal, nažalost, ostaje uvelike neiskorišten. Iako svoj dio odgovornosti tu nesumnjivo nosi i dizajnerska zajednica, ne može joj se predbaciti manjak angažmana i zagovaranja dizajna. Problem je da još uvijek, kontinuirano, drugi akteri – prvenstveno tu mislimo na široku sferu državne uprave, agencija, javnih poduzeća, lokalne uprave – ne prepoznaju smisao i ulogu dizajna. Disci- plina koja bi svojim djelovanjem trebala obuhvaćati sve sfere svakodnevnog života i dalje se najprisutnijom osjeća u sigur- nim oazama neovisne kulturne produkcije ili maloserijske proizvodnje, reproducirana u lifestyle magazinima ili izložena na policama dizajn shopova. Čak je i dva i pol desetljeća stara zamisao usustavljivanja vizualnog identiteta države autora Borisa Ljubičića jedva prokrijumčarena, zapravo kao kolegi- jalan dizajnerski hommage, u identitet pristupanja Hrvatske Europskoj uniji. Drugim riječima, struka je dosegla određeni kulturni i društveni status, dizajn i dizajneri su se emancipirali, ali to njihovu poziciju nije učinilo ništa manje usamljenom. Zato to što govorimo o snazi i kapacitetima lokalne dizajnerske scene – a hrvatska dizajnerska scena nedvojbeno jest iznimno snažna – i dalje ne znači da govorimo i o dozreloj kulturi dizajna.

Umreženost je omogućila nove kanale diseminacije, distribucije, a posljednjih nekoliko godina i financiranja vlastitih projekata putem, primjerice, crowdfundinga. Etabliraniji inozemni dizajneri, poput nedavnog zagrebačkog gosta Neila Poultona vide ovo kao odličan alat za sve dizajnere, a ne samo za one u usponu, ali zasad se čini da crowdfunding još uvijek u domaćoj sredini baš i nije uzeo maha ni kod dizajnera, a ni kod poten- cijalnih potrošača-naručitelja-mecena. Neke radove nastale putem ovih platformi bilo bi zanimljivo vidjeti možda već na idućoj bijenalnoj Izložbi hrvatskog dizajna.

Društvene mreže i servisi za samopromociju pomogli su dizajnerima da razmjerno lako postignu vidljivost u krajnje demokratičnom, stimulativnom i uglavnom vrlo ugodnom okruženju, bez obzira tko su i odakle dolaze. Šareni svijet online portfolija je lijepo mjesto za izgradnju samopouzdanja, za stvaranje i učvršćivanje malih zajednica i inicijativa, za razmjenu određenih znanja, ponekad i za nalaženje klijenata,

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za crpljenje inspiracije, za prepoznavanje uzoraka. Kao i na bilo kojem drugom mjestu, i ovdje će se naći i ono najbolje i ono najlošije. Dizajneri komuniciraju, prate se i ugledaju jedni u druge vjerojatno više nego ikad prije, i to je divno. S druge strane, ozbiljan nedostatak ovakvih platformi je izostanak stvarnog i temeljitog kritičkog diskursa – dizajneri gledaju jedni u druge, rade radove koji će se svidjeti drugim dizajnerima, mišljene dizajnerskim meta-jezikom, isporučene u lijepim, dizajniranim sličicama. Čudno, taman kad je izgledalo kao da se dugogodišnjim zagovaranjem raskrstilo sa zabludom o dizajnu kao nekoj vrsti završnog stylinga, odjednom je sad sve opet postalo – styling.

Proizvod koji izgleda najljepše, koji najvještije piše najnovijom tipografijom, koji govori u najpametnijim dizajnerskim referencama i priča najčarobnije priče, nije uvijek najbolji proizvod. Izazov pred današnjim dizajnerima, koji raspolažu s više alata, znanja, informacija, resursa i trikova nego bilo tko od njihovih prethodnika, bit će u nadvladavanju zavodljivih zamki samoreprezentacije. U izrazito kompetitivnom i narcisoidnom okru- ženju to je veliki izazov. U onom malo širem okruženju, koje treba njihovu pomoć, ekspertizu i suradnju s ostalim akterima, to je i velika odgovornost.

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The Troubles of Self-Representation

Marko Golub

The catalogue before you is a hefty volume. This is the case because it contains a lot of very good design. Since HDD's first biennale exhibition in 1999, the Croatian design scene has matured significantly, it has grown in quality and in terms of numbers, the number of schools that educate young designers has increased, and generationally the scene is constantly young, fresh and mostly in a good mood. The exhibition itself, on the other hand, has remained in a traditional review format, rather rigid in the classification of works into highly discrete categories (visual communications, products, fashion, electronic media, conceptual, spatial graphics and signalization), with a proverbially equally strict jury that truly tries to carefully select only those works that will represent the best standards of design production. The structural rigidity has its reasons since it was important, from the very beginning, that the exhibition enable an easy reading and diagnosis of the state of each field of design. To be more precise, it was important that the exhibition not hide the stagnation of one segment of production with the triumphant results of another. Complex works on the border of several categories are usually considered and demonstrated in the aspect in which they proved most successful. The exhibition is still to a dominant extent an exhibition of objects, not always completely shedding light on their context or the reasons and processes of their creation in a plastic manner. It does not directly tell the story, but provides the elements from which the story can be construed.

A cursory examination, for instance, makes it clear that the production in the field of visual communications is still qu- antitatively superior compared to the other fields, and most stable in terms of quality. The middle generation took the stage with a characteristic restrained dignity, and is more inclined to retain the recognizable elements of already formed authorial languages, whereas the youngest generation is more open to experiments, it is more self-confident and emboldened by the competences it obtained in the Đurek-Bralić typographic school, whose impact is very much felt in both the student and the professional categories. A specific aspiration toward sophisti- cation is also apparent in visual communications – few play the obvious card; a well-thought through, informed, evocative, and associative design is valued, eloquent in its references, without excessively visceral elements. Part of the designers consciously usurp and recycle patterns of vernacular and street

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culture, and most are prone to experiment, at least a bit, with the media of print, books and other formats. Just as in earlier years, most works are for clients from the field of independent and institutional culture. The presence of advertising agencies is relatively low and precious, and they are mostly represented with works from the context of culture and humanitarian pursuits, which is a shame, since it is precisely this type of exhibition that should foster a more compelling section of commercial works, which at times should be observed from a different, but no less relevant vantage point. Though represented in a somewhat smaller scope than in earlier years, the student selection once again contains some of the best works of the entire exhibition, mostly in the field of book design and typography, but also product design. Together with the previous exhibition (1112), this year's student selection confirms that an exceptionally significant and unusually mature generation of young designers is coming of age. Also, it is worth noting that in addition to the Zagreb University School of Design and the Department for Visual Communications Design of the Split Art Academy, as the two high profile and by far most influential study programmes, and the Zagreb University School of Textile Technology, Agora Open University, and the University of Rijeka Academy of Applied Arts, the very promising Design School of the University North in Koprivnica has also entered the design scene, albeit only symbolically for now, whose results we will surely have the chance to witness as early as at the next exhibition.

The vast majority of works represented in the professional category of product design are self-initiated, with a prominent presence of only two major manufacturers, fully expected – Kvadra and the Bosnian-Herzegovinian Artisan – which in recent years fortified their status on the market and which are worth pointing out as an example since they communicate an important message to the rest of the industry that without design and recognizable products, it can at best only continue to barely subsist. While in the public consciousness these examples have been very much present for a while now – just as their relatively widely exposed products and media sensations – an adequate response was lacking. We have only witnessed episodes of deafening panic – panic due to EU accession, panic due to the arrival of Ikea, panic due to a lack of state incentives, panic, panic, panic. A part of the responsibility lies with national institutions and the quiet termination of the National Design Strategy, but a part also lies with a lack of awareness of the fact that re-industrialisation cannot be implemented in isolation from the wider social context. It is precisely the "fetishes" of mass industrial production and the national economy that are part of the problem. The relations between the manufacturer, designer, distributor and consumer have changed dramatically on a global scale and such a situation requires responses, the creation of new systems, new hierarchies and new relations. It is the designers that must participate in the design of such systems, taking into consideration not only economic, but also ethical parameters, which are chronically absent from the discourse on design as the accelerator of economic growth and competitiveness, especially in times of crisis.

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The recent production in the field of product design has also been marked by a tendency of developing one’s own brands, launching one’s own production in small series, coopera- ting with trades and crafts businesses and finding alternative methods of distributing products to the international market. This phenomenon should not be viewed as an ascent of a new lucrative hybrid species of the designer-entrepre- neur, but rather as an indicator of the fact that the designers themselves are in search of more functional, more founded, more just, and even more understandable frameworks and systems of activity. Consciously or not, all of them are trying to understand, on a small scale, what it is that they are doing, for whom, with whom, what the true needs are, where the real resources are, and who the real users are and where they come from. The problem with this model of activity, however, occurs when all of its stratification is utilised exclusively for production and the placement of new products, that is when a basically good idea becomes solely the carrier of market recognisability. It is then that behind the currently fashionable facade of learning from the modern and pre-modern tradition, behind the equally fashionable design reinterpretation of local heritage, behind the contextual research and charming micro-narratives, all that remains are merely tatty trinkets, a pile of semantically voluble and visually pleasing ‘things’ that no one has a particular use for. Let us not flatter ourselves; the increased market supply of domestic design is filled with trinkets, numerous souvenirs that feign to have a practical value, many nice-looking solutions for problems that do not even exist, a lot of conformism and very little ambition for confronting real everyday issues.

This does not mean that their designers are no good, on the contrary – at times they are even excellent designers, but their potential, unfortunately, remains unused to a great extent. Although part of the responsibility for this undoubtedly lies with the designer community, we cannot place blame with it for a lack of engagement or advocating design. The problem is that still, continuously, other stakeholders – primarily the wide sphere of state administration, agencies, public companies, local governments – fail to recognise the purpose and role of design. A discipline that should comprise all spheres of everyday life is still most present in the safe havens of independent cultural production or small-scale production, reproduced in lifestyle magazines or displayed on the shelves of design shops. Even the two-and-a-half decade old idea of systemati- sing the visual identity of the country by Boris Ljubičić was barely implemented, more as a collegial design homage than anything else, into the identity of the Croatian accession to the European Union. In other words, the field of design reached a certain cultural and social status, design and designers have become emancipated, but this has not made their position any less lonely. Just because we now have a strong local design scene – and the Croatian design scene is undoubtedly exceptionally strong – this does not mean that we have a mature design culture.

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Networking has enabled new channels of dissemination, distribution, and in the last several years also the financing of projects via, for instance, crowdfunding. More established foreign designers, like Neil Poulton, who recently paid a visit to Zagreb, see this as a great tool for all designers, and not just for those getting started, but for now it seems that crowdfunding has not quite taken on domestically, both with designers and potential consumers-clients-benefactors. It would be interesting to see works created via such platforms at the next biennale exhibition of Croatian design.

Social networks and self-promotion services have helped designers to achieve visibility relatively easily in an extremely democratic, stimulating and mostly very pleasant environment, no matter who they are and where they come from. The vi- brant world of online portfolios is a nice place to build one's self-confidence, to create and consolidate small communities and initiatives, to exchange specific knowledge, occasionally even to find clients, to draw inspiration, to recognise patterns. As anywhere else, here one can find the best and the worst offered. Designers communicate, follow each other and look up to one another more than ever before, and that is wonderful. On the other hand, a substantial deficiency of such platforms is the lack of a real and fundamental critical discourse – designers observe one another, create works that other designers will like, conceived in a designer meta-language, delivered in pretty designed little images. Oddly, just when it seemed that long-time advocacy has led to an end of the misconception of design as some sort of finalstyling , suddenly all has once again become – styling.

A product with the most beautiful appearance, that uses the latest typography most skilfully, that speaks in the smartest design references and tells the most magic stories is not always the best product. The challenge before today's designers, who have more tools, knowledge, information, resources and tricks at their disposals than any of their predecessors, will be to overcome the seductive traps of self-representation. In an extremely competitive and narcissistic environment, this is a great challenge. In the wider environment, which needs their assistance, expertise and cooperation with other stakeholders, it is an even greater responsibility.

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Četvrt vlade i parlamenta, Bonn, natječajni projekt / Parliament and government quarter, Bonn, competition project koautori/ co-authors Ulrich Ensinger, Herbert Groethuysen, Hans Maurer, Kurt Richter, Werner Wirsing, 1974.

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Bogdan Budimirov – Nagrada Hrvatskog dizajnerskog društva za životno djelo

Maroje Mrduljaš

Bogdan Budimirov nadilazi uže disciplinarne okvire i pojedno- stavljeno shvaćenu poziciju arhitekta i dizajnera kao ‘stvara- telja oblika’. 6 desetljeća njegovog aktivnog istraživačkog rada u različitim mjerilima: od crtaće ploče do aerodroma, treba interpretirati u svjetlu nastojanja da se moderno sistemsko mišljenje i integracija znanja uključe u logiku projektiranja.

Budimirov ulazi u praksu još kao student, u dinamičnom kontekstu urbane ekspanzije i industrijalizacije u socijalističkoj Jugoslaviji nakon 2. svjetskog rata. Milje zemlje u razvoju je plodan za Budimirova, homo fabera zainteresiranog za metode racionalne organizacije i angažiranja svih raspoloživih, a oskudnih resursa. Radoznao i poduzetan Budimirov iskustva empirij- ski sabire proučavajući druge proizvodne grane i traži modele reforme građevinske industrije. U suradnji sa Željkom Solarom, Dragutinom Stilinovićem i drugima razvija nekoliko sistema prefabrikacije, među kojima je najuspješniji YU-61. Suočeni sa zadatkom projektiranja ‘za velike brojeve’, Budimirov i suradnici ne oblikuju građevinu kao izdvojeni objekt sa specifičnom ‘formom, funkcijom i konstrukcijom’, nego projektiraju čitav proces serijske, industrijske proizvodnje i kasnijeg održavanja građevine sa planiranim vijekom trajanja. ‘Forma, funkcija i konstrukcija’ se apstrahiraju u set građevinskih elemenata opti- miziranih za proizvodni proces, pri čemu se ne kompromitiraju estetske i uporabne kvalitete nego pragmatično uravnotežuju omjeri uloženog i dobivenog. Koncizna arhitektura ‘srebrnih gradova’ u Zapruđu, Borongaju, Remetincu i drugdje djelovala je futuristički, no razlog tome nije samo blještavilo njihove aluminijsko-staklene ovojnice, već činjenica da su te kuće osmišljene i izvedene prema tada sasvim novim proizvodnim principima i investicijskim zahtjevima. Istraživanje masovne proizvodnje arhitekture Budimirov i suradnici nastavljaju u sistemima skladnih prefabriciranih drvenih turističkih bun- galova i obiteljskih kuća za tvrke Jugomont, Spačva, Marles i druge od kojih su mnoge još i danas u funkciji, te sistem SPIG industijske proizvodnje čeličnih zgrada.

Paralelno s projektima velikog mjerila i rada s velikim građe- vinskim poduzećima, Budimirov eksperimentira i u području

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Sistem industrijske prefabrikacije YU-61/ Industrial prefabrication system YU-61, koautori/ co-authors Željko Solar, Dragutin Stilinović, 1961. oblikovanja proizvoda (u to vrijeme se još ne koristi pojam ‘dizajn’). U istraživanju primjene elastičnih ploča (projekti stolice i kreveta) do izražaja dolazi Budimirovljevo izvrsno, gotovo intuitivno razumijevanje statike i ‘rada konstrukcije’, dok rane varijante crtaćih stolova proizlaze iz vlastitog, proživljenog iskustva. Elastična ploha za sjedenje ujedno je i prvi patent Bu- dimirova, a uslijedit će više registriranih patenata u Njemačkoj, Francuskoj, Italiji, Velikoj Britaniji i Hrvatskoj. 1950-ih i 1960-ih racionalna integracija industrije i oblikovanja okoline u svim mjerilima jedna je od ključnih tema diskusije o društvenom razvoju u Hrvatskoj i Jugoslaviji ali i u internacionalnom kontekstu. Budimirov je uspješan akter tog ‘industrijskog zaokreta’ koji je u ovdašnjoj sredini samo parcijalno ostvaren.

Od druge polovice 1960-ih, Budimirov rad nastavlja u Mün- chenu u Zapadnoj Njemačkoj, u drugačijem tehnološkom i ekonomskom miljeu. Radeći u velikim biroima i na opsežnim projektima poput Velesajma u Nürnbergu, aerodroma u Münc- henu i drugima, Budimirov dalje razvija interes za prefabrikaciju ali i za specifične teme operativne organizacije projektiranja, komunikacije i protoka informacija od biroa prema gradilištu i natrag, u vremenu u kojem primjena računala u arhitekturi još nije bila intenzivna. Konvencionalne historiografije arhitekture i dizajna uglavnom se ne bave procesima projektiranja i tek će neka buduća istraživanja procedura i protokola proizvodnje projektne dokumentacije pokazati invencije na tom području kojem je Budimirov dao vrijedan doprinos. Dok je u Hrvatskoj rad Budimirova uglavnom vezan za stanovanje, u Njemačkoj je angažiran na prostorno-organizacijski vrlo složenim projektima koji zahtijevaju inovativne koncepte. Tako je projekt za kom- pleks zgrade Vlade i ministarstava Zapadne Njemačke osmišljen u vidu trodiomenzionalne matrice komunikacija i instalacije koja okuplja sve ostale elemente programa. Projekti Budimi- rova nisu predstavljali slikovitu eksplikaciju tehnologije, kao što je to bio slučaj u brojnim projektima nadolazeće ‘high-tech’ arhitekure, nego su bili otvoreni, fleksibilni sistemi učinkoviti poput uređaja i sposobni prihvatiti strukturalni rast i promjene.

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Od sredine 1970-ih godina Budimirov se vraća dizajnu produkata, u prvom redu specijaliziranog namještaja i opreme. Uređuje fotografske studije, interijere, radi na pojedinačnim produktima, te dizajnira tržišno vrlo uspješni fleksibilni crtaći stol Moya po kojem je vjerojatno najpoznatiji kao dizajner u užem smislu riječi i za kojeg dobiva i prestižnu nagradu Gute Form (Dobra forma). Iako naizgled jednostavan, crtaći stol je konstruktivno-statički pažljivo promišljen kako bi bio jednostavan za manipulaciju i pogodan za ekonomičnu izvedbu. Uslijedio je sistem prateće opreme za kompletiranje čitavog arhitektonskog ureda: pokretni multifunkcionalni ormar-sto- lić, manja crtaća daska i drugi elementi. I u ‘komornom’ mjerilu produkata, Budimirov projektira sistemski: koristi modularnu koordinaciju, razrađuje varijante detalja, razvija fleksibilne kon- cepcije i od početka razmišlja o plasmanu na tržište. Odgovor na zahtjeve za odmakom od ‘industrijske’ estetike koji jačaju 1980-ih Budimirov pronalazi u taktilnim svojstvima materijala, u prvom redu drva, i njihovoj obradi.

Po povratku u Hrvatsku 1988. Budimirov se nastavlja baviti dizajnom i radi kao konzultant za pitanja specifičnih konstrukcija. Njegov aktualni projekt je vlastita kuća koja je pred dovršetkom: razumna u mjerilu, gotovo klasicistička po smi- renom ritmu i eleganciji proporcija, tradicionalna u referenci na jednostavnu vernakularnu organizaciju tlocrta, moderna po tehnologiji gradnje i prostornoj otvorenosti, suvremena po ekološkoj učinkovitosti, individualna po prilagođenosti specifičnim potrebama korisnika, autentična po koncepciji. Sve te kvalitete sublimat su nataloženih desetljeća iskustva i provjera znanja u teoriji i praksi.

Progresivna modernistička tradicija dizajna tražila je od stva- raoca-inovatora uključenost u tehnološka i ekonomska pitanja na putu prema ukidanju disciplinarnih granica između kulture, znanosti i tehnologije. Totalna koordinacija proizvodnje mate- rijalnog okoliša pokazala se političkom utopijom, a dilema koju je artikulirao Cedric Price pitanjem: ‘tehnologija je odgovor, no što je pitanje?’ ostaje otvorena. No etička, pa i estetska dimenzija integralnog projektiranja koja inzistira na utemeljenosti odluka u racionalnim (i razumnim) argumentima je još uvijek aktualna. Zato su metode, znanje i vrijednosti koje Budimirov razvija i zastupa u najmanju ruku jednako važni kao i njegovi realizirani radovi.

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Crtaći stol Moya/ Drawing table Moya, 1980.

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Bogdan Budimirov – The Croatian Designers Association Lifetime Achievement Award

Maroje Mrduljaš

Bogdan Budimirov has overcome the narrow disciplinary frameworks and simplified understanding of the position of the architect and designer as the ‘creator of forms’. Six decades of his active research work in different scales, from the drawing board to the airport, need to be interpreted in the light of his attempts to include contemporary systemic thinking and the integration of knowledge into the logic of the design process.

Budimirov began to design as a student, in the dynamic context of urban expansion and industrialization in socialist Yu- goslavia after World War II. The milieu of a developing country proved to be fertile ground for Budimirov, a homo faber interested in methods of rational organisation and engaging all available and scant resources. Curious and enterprising, Budimirov empirically gathered his experiences by studying other production fields and seeking models of reforming the construction industry. In cooperation with Željko Solar, Dra- gutin Stilinović and others, he developed several prefabrication systems, among which the YU-61 was the most successful. Faced with the task of designing large-scale structures, rather than developing buildings as discrete objects with a specific ‘form, function and construction’, Budimirov and his associates designed entire processes of serial industrial production and subsequent maintenance with a planned life cycle. The ‘form, function and construction’ are abstracted into a set of construction elements optimized for the production process. In doing so, the aesthetic and utilitarian qualities are not compromised, and the ratio between what is invested and what is obtained is pragmatically balanced. The concise architecture of the ‘silver cities’ in Zapruđe, Borongaj, Remetinec and elsewhere seemed futuristic, not due to the glare of their aluminium and glass envelope, but due to the fact that these structures were created and constructed in accordance with what at the time were completely new production principles and investment requirements. Budimirov and his associates continued their research of mass production of architecture in systems of proportioned prefabricated wooden tourist bungalows and family houses for the companies Jugomont, Spačva, Marles and others, many of which are in function to

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this day, and the SPIG system for the industrial production of steel buildings.

Along with large scale design projects and working with big construction companies, Budimirov experimented in the field of product design. In his research of the use of elastic boards (designs of chairs and beds) Budimirov’s outstanding, almost intuitive understanding of statics and the ‘work of construction’ came to the forefront, whereas his earlier versions of drawing desks resulted from his own experience. The elastic sitting surface was Budimirov’s first patent, followed by several other registered patents in Germany, France, Italy, Great Britain and Croatia. During the 1950s and 60s, the rational integration of industry and the design of the environment in all scales became one of the pivotal subjects of discussion on social development in both Croatia and Yugoslavia, and the international context. Budimirov was a successful protagonist of this ‘industrial turn’, which was only partially achieved in this region.

Since the mid-1960s, Budimirov continued his work in Munich in West Germany, in a different technological and economic milieu. Working in in large bureaus and on comprehensive design projects like the Nuremberg Fair, Munich Airport and others, Budimirov continued to develop his interest in prefabrication, but also in specific subjects of the operational organisation of design, communication and flow of information from the bureau to the construction site and back, in a time in which the use of computers in architecture was not yet intense. Conventional historiographies of architecture and design mostly do not deal with the processes of design, and it is up to future research of the procedures and protocols of the production of design documentation to demonstrate the inventions in this field to which Budimirov contributed a valuable contribution. Whereas in Croatia, Budimirov’s work was mostly related to residence, in Germany he was engaged in spatially and organisationally very complex projects that required innovative concepts. For instance, he envisaged the project for a complex of government and ministry buildings in West Germany as a three-dimensional matrix of communications and installations that gathers all other elements of the programme. Budimirov’s projects did not represent a figu- rative explication of technology, as was the case in a number of designs of the upcoming ‘high-tech’ architecture, but were open, flexible systems, efficient like devices that are capable of accepting structural growth and change.

From the mid-1970s, Budimirov returned to product design, primarily specialised furniture and equipment. He did the interior design of photographic studios, worked on individual products, and designed the very successful Moya flexible drawing desk, for which he is probably best-known as a designer in the strict sense, and for which he received the prestigious Gute Form award. Although seemingly simple, the construction and statics of the desk were considered carefully to make it easy to manipulate and suitable for an economical construction. This was followed by a system of accompanying

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Sistem prefabricirane drvene kuće Spačva / Wooden house prefabrication system Spačva, koautori / co-authors Željko Solar, Vladimir Robotić, Zlatko Žokalj, 1964.

equipment for architectural offices: mobile multifunctional cabinet-desks, small drawing boards and other elements. Even at the ‘chamber’ scale of products, Budimirov’s designs were systemic: he used modular coordination, elaborated variants of details, developed flexible concepts and considered market placement from the onset. Budimirov found his response to requirements for a distancing from the ‘industrial’ aesthetics, which were growing strong in the 1980’s in the tactile properties of materials, primarily wood, and their processing.

Upon returning to Croatia in 1988, Budimirov continued to be involved with design and worked as a consultant for issues of specific constructions. His current project is his own house, which is almost complete: reasonable in scale, almost classicist in its calm rhythm and elegance of proportions, traditional in its reference to the simple vernacular organisation of the floor plan, modern in the technology of construction and spatial openness, contemporary in its environmental efficiency, individual in its adaptedness to the specific needs of its users, and authentic in its concept. All these qualities are a sublimate of the sedimented decades of experience and tests of knowledge in theory and practice.

The progressive modernist tradition of design sought from the creators and innovators an involvement in the technological and economic issues on the way towards the abolition of disciplinary borders between culture, science and technology. A total coordination of the production of the material environment proved a political utopia, and the dilemma articulated by Cedric Price’s question: ‘technology is the answer, but what is the question?’ remains open. However, the ethical and even aesthetic dimension of integrated design, which insists on decision-making being based on rational (and reasonable) arguments is still present. This is why the methods, knowledge and values that Budimirov develops and represents are at least as important as the works he has achieved.

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Jan Boelen

Rođen 1967., Jan Boelen raznovrstan je i plodan Born in 1967, Jan Boelen is a versatile and pro- belgijski kustos i kritičar suvremene umjetno- lific Belgian critic and curator of contempo- sti i dizajna, koji organizira i osmišljava izložbe rary art and design exhibitions, projects and i projekte, te provodi istraživačke prakse. Stu- practices. He studied product design at the dirao je industrijski dizajn pri Media & Design Media & Design Academie (KHLim) in Genk, Academie (KHLim) u Genku, Belgija. Tijekom Belgium. Over the years, he collaborated with karijere surađivao je s mnogo renomiranih a number of well known names in their respec- imena u svom području, poput međunarod- tive fields – international collective Numen/ nog kolektiva Numen/ForUse i dizajnera Kon- ForUse and designer Konstantin Grcic, among stantina Grčića, među ostalima. Jan Boelen others. Jan Boelen is the founding director of osnivač je i ravnatelj Z33, Kuće za suvremenu Z33, House of Contemporary Art in Hasselt, umjetnost u Hasseltu, Belgija, gdje zajedno sa Belgium; where he and his colleagues explore svojim kolegama razvija istraživačke umjetnič- and develop investigative art, design and so- ke, dizajnerske i društvene prakse i diskurse. cial practices and discourse. He also chairs Također predsjeda Flamanskim komitetom the Flemish committee for Architecture and za arhitekturu i dizajn. Nakon što je predavao Design. After teaching in the Bachelors De- na preddiplomskom Odsjeku ‘Man and Well partment Man and Well Being at the Design Being’ na Akademiji za dizajn u Eindhovenu, Academy Eindhoven, Jan Boelen has been head Boelen je postao predstojnik diplomskog of the Master Department Social Design at Odsjeka za socijalni dizajn pri istoj instituciji. the same institution. In 2013, he was a Croa- Gost u Hrvatskoj po prvi put je bio 2013. godine, tian guest for the first time, as a member of kao član međunarodnog žirija festivala Dan D, the international jury of D-Day annual design kada je održao i dobro posjećeno predavanje. festival, giving lectures during the same event, Jan Boelen trenutno kurira Bijenale dizajna too. Currently, Jan Boelen is curating the Bi- (BIO) u Ljubljani, koji se održava tijekom rujna ennial of Design (BIO) in Ljubljana, Slovenia; 2014., u isto vrijeme kada se u Zagrebu otvara which takes place in September 2014, at the Izložba hrvatskog dizajna 1314. Budući da je same time when Zagreb sees the opening of Jan Boelen ponovno naš gost kao član struč- Exhibition of Croatian Design 1314. As Jan nog žirija izložbe, iskoristili smo priliku kako Boelen is also a member of a jury for the ex- bismo sa njime porazgovarali o njegovom ku- hibition and our guest once again, we seized stoskom i predavačkom radu, kao i o tekućim the opportunity and chatted with him about problemima suvremenog dizajna. his curatorial and teaching work, and the very zeitgeist of contemporary design.

ocjenjivački sud 30 croatian design review 1314

Armin Vit

Armin Vit je grafički dizajner i publicist rođen Born and raised in Mexico City, Armin Vit is i odrastao u Mexico Cityju, a danas živi i radi a graphic designer and writer now living in u Austinu u američkoj saveznoj državi Teksas. Austin, Texas. He is co-founder of UnderCon- Suosnivač je UnderConsiderationa, grafičkog sideration, a graphic design firm and publish- dizajnerskog studija koji je istodobno i izdavač- ing enterprise all rolled into one. While he ka kuća. Iako je pisao za većinu dobro poznatih has written for most of the well-known trade stručnih publikacija, poznatiji je po svom pi- publications, he is better known for his writ- sanju na blogovima koji čine UnderConsidera- ing on the blogs that make up the UnderCon- tionovu online mrežu (Speak Up, Brand New, sideration online network (Speak Up, Brand Quipsologies i drugima), kao i po knjigama čiji New, Quipsologies and others), as well as from je autor zajedno sa suprugom i partnericom the books he has co-authored with his wife and Bryony Gomez-Palacio. Najnovija izdanja su partner, Bryony Gomez-Palacio – their most im knjige Graphic Design Referenced, Women recent efforts being Graphic Design Refer- of Design i samoizdana Flaunt. Armin dio vre- enced, Women of Design, and the self-pub- mena drži predavanja na različite teme širom lished Flaunt. Armin spends a modest time svijeta, od San Diega do Berlina. U sklopu Un- on the road lecturing on any number of topics derConsiderationovog dizajnerskog studija and can be found anywhere from San Diego dizajnirao je korporativne identitete, knjige i to Berlin. Through UnderConsideration’s De- web sjedišta za niz klijenata. partment of Design he designs corporate identities, books and web sites for a few clients.

jury 31 Pregled Hrvatskog dizajna 1314

Vanja Cuculić

Vanja Cuculić rođen je u Rijeci 02.12.1977. Na- Vanja Cuculić was born in Rijeka on 2 Decem- kon završene gimnazije upisuje Studij dizajna ber 1977. After finishing high school, Cuculić 1996. u Zagrebu. 2000. po diplomi radi kao enrolled to the School of Design in Zagreb dizajner, a ubrzo i kao art direktor u marke- in 1996. Upon graduation in 2000 he worked tinškoj agenciji BBDO Zagreb. 2002. suosniva as a designer and art director in the BBDO dizajn studio Clinica. Od 2004. do 2007. radi marketing agency in Zagreb. In 2002 Cuculić kao asistent na Studiju Dizajna. 2005. pokreće co-founded the Clinica design studio. From Studio Cuculić. Od 2006. radi kao kućni diza- 2004 to 2007 he works as the assistant pro- jner kazališta Gavella za koje oblikuje mnogo- fessor at the School of Design in Zagreb. In brojne plakate. Studio Cuculić sudjeluje kao 2005 he founded the Studio Cuculić and as of dio kreativnog klastera (uz tvrtke Muze, Revo- 2006 he works as the in-house designer for lucija i Clinica) na mnogobrojnim projektima iz the Gavella City Theatre designing numerous područja dizajna kulturno – turističkih desti- posters. His Studio Cuculić is a part of the cre- nacija i njihovih atrakcija. Neki od projekata su: ative cluster together with Muze, Revolucija Ogulin, zavičaj bajke, Ogulinski festival bajke, Iva- and Clinica participating in numerous design nina kuća bajke, Plitvičke doline, Ekomuzej čipke i projects in the field of culture and touristic čipkarstva u Lepoglavi, Zavičajni muzej poreštine, attractions. Some of their projects are Ogulin, Kuća maslinovog ulja Tar – Vabriga, Kuća tartufa the Homeland of Fairytales, The Ogulin Fairytale u Buzetu, Kuća A.G.Matoša u Tovarniku. Dobit- Festival, Ivana’s House of Fairytales, The Plitvice nik je osam Red Dot nagrada. Neka od ostalih Valleys, The Eco-Museum of Lace and Lacemak- priznanja su: Identity Best of the Best, Summit ing in Lepoglava, The Museum of the Poreč, The Creative Award, BIO, HOW, International Po- House of the Tar Olive Oil – Vabriga, The House ster Biennale Teheran, International Theatre of Tartufos in Buzet, The House of A.G.Matoš Poster Biennale Rzeszow, European Design in Tovarnik. He is also the winner of eight Red Award, Magdalena, Zgraf , Izložba hrvatskog Dot awards as well as Identity Best of the Best, dizajna, Biennale kazališnog plakata u Varaž- Summit Creative Award, BIO, HOW, Interna- dinu, itd. Radovi su mu publicirani u većini tional Poster Biennale Teheran, International renomiranih časopisa za grafički dizajn (Print, Theatre Poster Biennale Rzeszow, European Graphis, Novum, Kak, itd). Design Award, Magdalena, Zgraf , the Croatian Design Exhibition, the Theatre Poster Bien- nale in Varaždin, etc. Cuculić’s works have been published in most renowned graphic design magazines such as Print, Graphis, Novum, Kak, etc.

ocjenjivački sud 32 croatian design review 1314

Tihana Taraba

Rođena 1981. u Zagrebu, diplomirala 2006. na Born in 1981 in Zagreb, graduated in 2006 from Studiju dizajna – smjer produkt dizajn, u Zagre- the School of Design at the Product Design bu. Sa Filipom Despotom i Ivanom Pavić osniva Department in Zagreb. Together with Filip 2007. dizajn studio Grupa. Prvo priznanje stru- Despot and Ivana Pavić, Tihana Taraba found- ke dobivaju na izložbi HDD-a 0708 za dizajn ed the Grupa design studio in 2007. Their first kolekcije namještaja Basic tvornice Artisan, professional award happened on the CDS ex- dok su za dizajn sjedeće garniture 3angle tvor- hibition 0708 for the design of the furniture nice Kvadra na izložbi HDD-a 1112 nagrađeni line named Basic and produced by the Artisan za najbolji produkt dizajn. 2010. započinju s factory. Their seating set 3angle produced by razvojem vlastitog brenda Grupa products pod Kvadra was awarded on the CDS 1112 exhibition kojim proizvode i distribuiraju Model, Arigato as the best product design project. In 2010 Gru- i ILI_ILI modularne lampe. Izlažu na domaćim pa started developing their own brand named i međunarodnim selektiranim izložbama, a Grupa products under which it produces and radovi su objavljivani u značajnim međuna- distributes Model, Arigato and ILI_ILI modular rodnim i hrvatskim publikacijama. lamps. They exhibit at many Croatian and international exhibitions and their works have been published in both Croatian and international publications.

jury 33 Pregled Hrvatskog dizajna 1314

Tin Kadoić

Tin Kadoić je magistar dizajna i predavač na Tin Kadoić is a M.Design and a lecturer at the Studiju dizajna u Zagrebu. Živi i radi s interak- School of Design in Zagreb. He lives and works tivnim medijima, balansirajući između komer- with interactive media – balancing commer- cijalnih, edukacijskih i osobnih dizajnerskih cial, educational and personal work. Working angažmana. Više od deset godina radi s lokal- for more than 10 years with local studios and nim studijima i agencijama za studije i klijente agencies for clients such as Coca-Cola, Adris, kao što su Coca Cola, Adris, T-Com, Snickers, T-Com, Snickers, Ericsson, Carlsberg, Nutella. Ericsson, Nutella. Suosnivač je digitalne agen- In 2009. cofounded a digital agency Brlog, part cije Brlog, koja je dio grupe Bruketa&Žinić OM. of Bruketa&Žinić OM Group. In his career he Tijekom karijere više je puta nagrađivan – Red has been awarded with the Red Dot, ID, Adobe Dot, ID, Adobe achievement award, IdejaX, achievement award, IdejaX, MIXX, Effie, and MIXX, Effie, te je izlagao na bijenalnim HDD- has exhibited at the HDD Biennale (biennale ovim izložbama hrvatskog dizajna, ZGRAF-u, Exhibition of Croatian Design), ZGRAF, and kao i na manjim izložbama. U protekle četi- smaller exhibitions. For the last four years ri godine predaje i na Odjelu za interaktivne he has also been working as a lecturer at the medije Studija dizajna u Zagrebu, gdje vodi i School of Design in Zagreb – Interactive me- organizira radionice i gostujuća predavanja te dia department, where he leads and organises aktivno radi na promociji interaktivnih medija workshops, guest lecturers and actively works u sklopu akademske zajednice. Od 2014. godi- on promoting interactive media inside the ac- ne organizira događanja i susrete kao lokalni ademic community. As of 2014, he organises voditelj IxDA Hrvatska, te djeluje kao član užeg events and meet-ups as a local leader for IxDA tima IxDA Europe. Croatia, and helps as an IxDA Europe core team member.

ocjenjivački sud 34 croatian design review 1314

Branka Donassy

Rođena u Zagrebu, gdje je studirala povijest Born in Zagreb where she studied art history umjetnosti i etnologiju na Filozofskom fa- and ethnology at the Faculty of Humanities kultetu. Članica je Hrvatske udruge likovnih and Social Sciences. Branka Donassy is a umjetnika primijenjene umjetnosti (ULUPUH) i member of the Croatian Association of Art- svojedobno grupe MODAGRAM. Kao samostalni ists in Applied Arts (ULUPUH) and the former umjetnik kreira žensku odjeću od unikatnih MODAGRAM group. As an independent artist ekskluzivnih modela do autorskih prêt-à-por- she designs fashion for women from unique ter kolekcija. Bavi se istraživanjem u modnom and exclusive designs to designer prêt-à-porter art-designu (instalacije, skulpture) gdje anali- collections. Donassy is also involved in fashion tičkim pristupom stvara djela koristeći me- art and design research (installations, sculp- tode i tehnike iz raznih područja umjetnosti tures) applying an analytical approach to create i dizajna. Od 1985. kontinuirano je prisutna designs combining various art and design tech- na umjetničkoj i modnoj sceni nastupima niques and methods. As of 1985 she has been na revijama i izložbama radova u galerijama continuously present on art and fashion scene i muzejima u zemlji i inozemstvu sa stotinjak with many shows and exhibitions in galleries autorskih prezentacija. Surađuje s televizijom, and museums in Croatia and abroad. Donassy te radi kostimografije za film i kazalište. Za collaborates with television and designs cos- svoj rad je višestruko nagrađivana u zemlji i tumes for theatre and film. She was awarded inozemstvu. Živi i radi u Zagrebu. many times inside and outside of the country. Branka Donassy lives and works in Zagreb.

jury 35 Pregled Hrvatskog dizajna 1314

Igor Kuduz

Rođen 1967. u Zagrebu, diplomirao 1995. na Born in Zagreb 1967. In 1995 he graduated on grafičkom odjelu Akademije likovnih umjet- the graphics department of the Academy of nosti u Zagrebu. Od 1995. vodi uspješan studio Fine Arts in Zagreb. Since 1995 he has been za vizualne komunikacije specijaliziran za iz- running a successful visual communications davaštvo i projekte vezane na kulturu. Sura- studio specialized in publishing and event đuje s velikim brojem kulturnih institucija, projects based around culture. He collaborates galerija i muzeja na izložbama i dizajniranju with a large number of cultural institutions, publikacija i vizualnih identiteta. Surađivao je galleries and museums with exhibitions and sa: Muzejom suvremene umjetnosti u Zagrebu, the shaping of publications and visual iden- Institutom za povijest umjetnosti, Galerijom tities. Cooperation has been achieved with: Klovićevi dvori, Gliptotekom HAZU, Hrvatskim Museum of Contemporary Art Zagreb, Insti- društvom likovnih umjetnika, Akademijom tute of Art History, Klovićevi Dvori Gallery, likovnih umjetnosti u Zagrebu, Profilom, Me- Glyptotheque HAZU, Croatian Association of androm, Udruženjem hrvatskih arhitekata i Artists, Academy of Fine Arts Zagreb, Profil, drugima. Radi na izdavačkim projektima re- Meandar, Croatian Architects’ Association and nomiranih međunarodnih kulturnih institu- others. He works on publishing projects with cija: Muzej moderne umjetnosti u New Yorku reputable international cultural institutions: (MoMA), magazin za suvremenu fotografiju Museum of Modern Art New York (MoMA), Camera Austria iz Beča, Centar Georges Po- contemporary photography magazine Camera mpidou u Parizu, Ludwigsmuseum u Budim- Austria, Vienna; Centre Georges Pompidou, pešti, Goethe Institut... Dobitnik je uglednih Paris; Ludwigsmuseum, Budapest; Goethe-In- nagrada i priznanja: Type Directors Club (New stitute... A winner of distinguished awards and York), International Society of Typographic recognitions: Type Directors Club (New York), Designers (London), AIGA (SAD), How maga- International Society of Typographic Design- zine (SAD) i drugih. Član je odbora Hrvatskog ers (London), AIGA (USA), How magazine (USA) fotosaveza. Član je Hrvatskog društva likovnih and others. A member of the committee of umjetnika i Hrvatskog dizajnerskog društva. the Croatian Photographic Union. Member of Jedan je od osnivača Instituta za suvremenu Croatian Association of Artists and Croatian umjetnost. Designers’ Association. One of the founders of the Institute for Contemporary Art.

ocjenjivački sud 36 croatian design review 1314

37 Pregled Hrvatskog dizajna 1314

razgovor: jan boelen 38 croatian design review 1314

Jan Boelen: Institucija kao uređaj za osvještavanje / Institution as an Awareness Machine

razgovarao / interviewer Bojan Krištofić

Gospodine Boelen, što vam je posebno zani- What intrigues you in the local design and mljivo na lokalnoj dizajn i umjetničkoj sceni, art scene, and what makes you return now i što vas je ponukalo da joj se opetovano vra- and then? When comparing Slovenia and ćate? Ako Hrvatsku i Sloveniju usporedimo Croatia to Belgium, in what ways has the s Belgijom, na koji je način ekonomska kriza economic crisis influenced the perception utjecala na percepciju dizajnerske prakse? of design practice? Vrlo me zanimaju socijalne promjene – prven- I am interested in societal developments – in stveno u samom društvu, a potom i u dizajnu. the first place in society and secondly in design. U usporedbi s Belgijom, ekonomska kriza je When compared to Belgium, economic crisis zemlje poput Slovenije I Hrvatske udarila jače stroke harder and more direct in countries i izravnije, što je nužnost za regiranjem učinilo such as Slovenia and Croatia, making the ne- još potrebnijom, dok su efekti krize po druš- cessity to react far greater, while its effects on tvo mnogo vidljiviji nego u Belgiji. Promjene society are much more visible than in Belgium. su vidljive na svim razinama – ekonomskoj, These changes are visible on all levels – eco- političkoj, socijalnoj, itd. nomical, political, social, etc.

Što bi prema vama trebao biti prioritet su- According to you, what is a top priority of vremenih profesionalaca u dizajnu? contemporary design professionals? Prioritet suvremenih dizajn profesionalaca The priority of contemporary design profes- prije svega je postavljati pitanja, umjesto tek sionals should be to raise questions, more projektirati proizvode. Ekonomski, vladajući i than merely produce products. Economical, demokratski sustavi posvuda su u velikoj krizi. governmental and democratic systems are in Središta moći se stubokom izmjenjuju i mi crisis. The powers are shifting and we have moramo stvarati nove odnose između osoba to develop new relations between persons as kao konzumenata, proizvođača i distributora. consumers, producers and distributors. We Morali bismo razmišljati o novim sustavima have to think about new systems of exchang- razmjene vrijednosti između svih tih čimbe- ing values between these parties in our society. nika u našem društvu. Te vrijednosti mogu These values can be tactile and tangible, and by biti materijalne ili refleksivne, i pomoću i na and through these values we have to build new temelju tih vrijednosti trebamo izgraditi nove bridges between all possible parties in society, mostove između svih mogućih društvenih či- and not just nurture existing ones. nitelja, a ne samo održavati postojeće. Tell us more about Z33 gallery. What lays in Recite nam više o galeriji Z33. Što leži u ko- the core of your program and how do you rijenima vašeg programa i kako kultivirate cultivate investigative practices and design istraživačke prakse u dizajnu? Tko je vaša research? Who is your intended audience? ciljana publika? Z33 is a contemporary art place in the regional Z33 prostor je za suvremenu umjetnost u re- town of Hasselt, which I founded in 2002. We gionalnom središtu Hasseltu, koji sam osno- mediate and transform knowledge in differ- vao 2002. Mi usmjeravamo i preobražavamo ent ways and through different channels. We znanje na različite načine i kroz raznovrsne make exhibition projects, we release publi- kanale. Kreiramo izlagačke projekte, radimo cations, organize lectures, debates etc. For na različitim publikacijama, organiziramo us, it is important always to seek the right predavanja, tribine i debate, itd. Za nas je naj- medium to communicate the right message. važnije iznova pronalaziti odgovarajuće me- In the beginning, we mainly focused on the dije kojima ćemo komunicirati progresivne discussion between art and design, but this poruke. Na samom početku ponajviše smo se has been shifting more towards focusing on

interview: jan boelen 39 Pregled Hrvatskog dizajna 1314

z33 galerija / z33 gallery, Foto: Kristof Vrancken

zgrada z33 / z33 building, Foto: Kristof Vrancken usredotočili na diskurs između umjetnosti i discussions about themes that evolve in so- dizajna, no kasnije su se naši interesi usmjerili ciety. We connect things and their context, na raspravljanje o temama koje evoluiraju u which already exist, and bring internation- društvu. Povezujemo postojeće fenomene sa al scene to our place. Through our projects njihovim stvarnim kontekstom, te međuna- and exhibitions we encourage visitors to see rodnu scenu dovodimo u svoj prostor. Kroz everyday things in a new way. It’s a unique naše projekte i izložbe ohrabrujemo posjetite- laboratory and meeting place for experimen- lje da promatraju svakodnevne pojave na nove tation and innovation. I see our institution načine. Z33 jedinstveni je laboratorij i mjesto za as a useful part of society and an ‘awareness susrete, eksperimentiranje i inovaciju. Vidim machine’ – society can only become better našu instituciju kao korisnu sudionicu društva because of it. We encourage debate, because i svojevrsni ‘uređaj za osvještavanje’, od ko- what is happening in the world cannot stand jeg šire društvo može samo profitirati. Uvijek still – we have to react. That is why places like potičemo na propitivanje i raspravljanje, zato ours are needed. što prema svemu što se događa u svijetu ne možemo biti mirni – moramo reagirati. Zbog Can you emphasize some of the key projects toga su javni prostori poput našeg potrebni. you have realized in Z33 gallery so far? What was the relation these projects had to the Možete li nam približiti neke od ključnih very form of representation in such a space? projekata koje ste dosad realizirali u Z33? Z33 is currently expanding, and we are opening Kakav je bio odnos tih projekata sa samom future building to young designers in advance formom prezentacije u takvom prostoru? of the construction. Along with the building, Z33 se trenutno širi, te uskoro otvaramo cijelu we are also reorganising the structure of the novu zgradu namijenjenu mladim dizajnerima, institution in order to change the operative koja još nije u potpunosti dovršena. Pored nove time-scales of a contemporary cultural cen- zgrade, iznova organiziramo samu strukturu tre. We would like to move away from a start- institucije, jer želimo promijeniti operativne and-stop exhibition mode to a set of parallel metode suvremenog centra za kulturu. Voljeli agendas that run simultaneously. The issues bismo se odmaknuti od modela otvaranja i za- are never closed, and can be re-investigated tvaranja izložbi prema setu paralelnih agendi and re-presented multiple times by different koje će se odvijati simultano. Neke teme nikad agents. An example of a past key project is The se ne iscrpljuju, a mogu biti uvijek iznova istra- Machine: Designing a New Industrial Revolution.

razgovor: jan boelen 40 croatian design review 1314

Dizajniranje oskudice / Designing Scarcity (The New Institute Rotterdam) Foto: Johannes Schwartz

živane i reprezentirane kroz različite moduse. The industrial revolution was a revolution for Dobar primjer ključnog proteklog projekta engineers. Now designers are at the forefront je The Machine: Designing a New Industrial Re- of a new revolution. They are part of networks volution. Industrijska revolucija proizvod je that enable them to develop new materials inženjera, a sada su dizajneri predvodnici nove and systems, build their own machines, and revolucije. Oni su živi elementi mreža koje im seek new tools for production and distribu- omogućuju da razvijaju nove materijale i su- tion. These developments offer an alternative stave, izgrađuju svoje vlastite uređaje i tragaju to mass production and open paths to a new za novim sredstvima proizvodnje i distribucije. economy and society. Another past exhibition Takve prakse pružaju alternativu masovnoj project is Alter Nature, in which biology and proizvodnji i otkrivaju puteve prema novoj science had a big impact. For instance, what društvenoj ekonomiji. Drugi važan projekt bio is happening now in the internet world is also je Alter Nature, u kojem su velike uloge igrale transferred into the ‘real’ world. How the soft- biologija i prirodne znanosti. Na primjer, ono ware is developed, how thinking is happening što se trenutno događa u svijetu interneta sva- on a meta-level, how structures and things kodnevno se prenosi u ‘stvarni’ svijet. Kako that we construct for the internet world, se razvija softver? Kako se mišljenje odvija na which is a parallel world, are connected to the meta-razinama? Kako se strukture i stvari koje things that surround us. Currently we have an gradimo za paralelni svijet interneta povezuju exhibition in The New Institute in Rotterdam s materijalnim svijetom koji nas okružuje? U called Designing Scarcity. The exhibition shows Novom institutu u Rotterdamu upravo smo how periods of crisis can give rise to renewal postavili izložbu nazvanu Dizajniranje oskudice. and scarcity can spur innovation. It showcases Izložba pokazuje kako razdoblja krize mogu a panoply of design strategies that designers as potaknuti na obnavljanje i kako oskudica može well as users employ in times of scarcity. The pokrenuti inovacije. Postav prezentira sukus exhibition features urban planning projects, strategija koje dizajneri, ali i korisnici angaži- buildings, interior objects, consumer goods raju u vremenima oskudice. Izložba okuplja and intellectual models, from contemporary urbanističke projekte, zgrade, uređenja i pred- works by designers to historical designs by mete za interijere, različita dobra i intelektu- Dutch architects. Also, MA students from the alne modele, i to od suvremenih radova do Design Academy Eindhoven are contribut- povijesnog dizajna nizozemskih arhitekata. ing contemporary proposals dealing with the Također, studenti diplomci na Akademiji za subject of scarcity, inspired by works in the dizajn u Eindhovenu sudjeluju sa suvreme- archive of The New Institute. Coming Octo- nim prijedlozima u kontekstu oskudice, in- ber the exhibition Future Fictions will open at spirirani bogatom arhivom Novog instituta. Z33. With this project we continue the debate Naposljetku, u listopadu u Z33 otvaramo novu about our future, exploring how contempo- izložbu Future Fictions, kojom ćemo nastaviti rary artists, designers and architects relate intenzivnu raspravu o budućnosti. Istraživat to future thinking and imaging: from map- ćemo kako se suvremeni umjetnici, dizajneri ping, questioning and criticizing, to develop- i arhitekti odnose prema mentalnim i vizual- ing complex visions about the structures and nim projekcijama budućnosti, od mapiranja, systems that may shape our life in the future. propitivanja i kritiziranja, pa do razvijanja kompleksnih vizija struktura i sustava koji će On a global scale, for more than a while ubuduće oblikovati naše živote. there is an ongoing process of intensify- ing the erasure of borders between specific Na globalnom planu već duže vrijeme traje areas of design. What is your perspective sve brži process brisanja granica između on this?

interview: jan boelen 41 Pregled Hrvatskog dizajna 1314

Hidden Crafts (BIO 50 Ljubljana), Foto: Tomislav Vidović pojedinih područja dizajna. Kakvo je vaše Designers can use design as a tool to make viđenje ovog fenomena? things visible, to develop scenarios that reflect Dizajneri mogu koristiti svoju metodologiju on things; they use their visual capabilities to kako bi stvari i pojave učinili vidljivima, ili put it all together. Design is simply one facet pak osmislili scenarije za njihovu refleksiju, a – both a manifestation and an apparatus – of pritom svoj kapacitet za vizualno rabe kako bi the way society organizes and expresses itself. sve to povezali. Dizajn je jednostavno aspekt – Materialized object is still relevant as a tool, podjednako kao manifestacija i aparat – načina as an agent or provocateur, as a Trojan horse, na koje se društvo organizira i izražava. Ipak, as a solution, as a value and as a metaphor to materijalni objekti i dalje su relevantni kao make us aware of a situation and to develop sredstvo mišljenja ili provokacije, kao Trojan- strategies and tactics to change systems and ski konji, te kao rješenja, vrijednosti i metafore the powers that occupy a system. Nowadays, koje nam pomažu osvijestiti situacije i razvijati designers should be aware of this power and strategije i taktike promjene odnosa moći koji design their own tools for creating meaning okupiraju sustave. Dan-danas bi dizajneri tre- and shared value to be contributed to a society. bali biti svjesni ovog potencijala i projektirati svoja vlastita sredstva za kreiranje značenja i You are a head of Social Design department razmjenu vrijednosti koje bi društvu mogle at Design Academy Eindhoven. How did the biti od koristi. constitution of this department came to be? Was it a natural development of your Pročelnik ste Odsjeka za socijalni dizajn pri lecturing experience? Akademiji za dizajn u Eindhovenu. Kako je Yes, it was a natural development, but actually došlo do osnivanja tog odsjeka? Je li to bio there should not be such a thing as a ‘social dio prirodnog razvoja vaših predavačkih design department’. There is only design and iskustava? the social aspect should be an integrated part Da, riječ je o etapi prirodnog razvoja, iako tako of holistic thinking of what a situation can be. nešto kao što je ‘odsjek za socijalni dizajn’ za- Functions should not be split. There can be pravo ne bi smjelo postojati, jer bavimo se a stress on the social aspect and that is what samo dizajnom, čiji bi socijalni aspekt trebao we address especially in the context of this biti integralni dio holističkog pristupa promi- department. šljanju svakog problema. Funkcije ne bi trebale biti podijeljene. No, može postojati izraziti How do you perceive Design Academy Eind- naglasak na socijalnom aspektu dizajna, i to je hoven’s role on European map of academic ono što u kontekstu ovog odsjeka nastojimo institutions for education in design? What kontinuirano naglašavati. particularly characterizes faculty’s design practice and design discourse? Kako vidite ulogu Akademije za dizajn u Ein- The academy is a working place or laboratory dhovenu na europskoj mapi visokoškolskih for evolutionary society and symbolic labour. institucija za obrazovanje u dizajnu? Što po- At the academy there is no production of new sebno karakterizira praksu i diskurs dizajna knowledge. There is not merely transmission na vašem fakultetu? of information, but the transmission of knowl- Akademija je laboratorij za evoluciju društva edge in a reflective way. Within the academy i simbolički rad. Na akademiji uistinu nema you reflect on the society, but findings are proizvodnje novog znanja – ne postoji uobi- only meaningful when you place them back čajeni tok informacija, već transmisija znanja to the society; and instigate debate in a larger, na refleksivan način. U akademiji se stvaraju ever-changing context. It is about an attitude refleksije društva, no naša saznanja imaju smi- between skepticism (because we know noth-

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Affordable Living (BIO 50 Ljubljana), Foto: Tomislav Vidović

Hacking Households workshop (BIO 50 Ljubljana), Foto: David Lotrić sla samo ako se projiciraju nazad u društvo, te ing is true) and conviction (making choices uzrokuju debatu u širokom, vječno promje- between many meanings). Becoming aware of njivom kontekstu. Riječ je o stavu između hidden meanings is of great importance to any skepticizma (jer ne uzimamo ništa zdravo designer, as it will help you create your own za gotovo) i uvjerenosti, odnosno donošenja meaningful designs and relationships with odluka i biranja između mnogo pristupačnih their contexts. We aim to open designer’s eyes značenja. Postati svjestan skrivenih značenja to the world and give advice how to gather od velike je važnosti za svakog dizajnera, kako important information. During their studies biste mogli kreirati vlastita, kao i veze sa nji- we will not literally take them by the hand, for hovim kontekstima. Cilj nam je dizajnerima instance by teaching them exactly what they otvoriti oči za zbivanja u svijetu, te ih savjeto- should know or do. Instead, we often try to vati u prikupljanju važnih informacija. Tijekom puzzle them and turn all the questions and njihovog studiranja ne vodimo ih doslovno za all the answers upside down. In that process ruku, niti ih učimo što bi točno trebali misliti we will help them to discover who they are, i raditi. Naprotiv, često ih pokušavamo zasko- discover their personal talents, trust their in- čiti i okrenuti sva pitanja i odgovore naglavce. tuition, mistrust their first assumptions, and U tom procesu pomažemo im otkriti tko su how to improve their research and design tal- zaista, koji su njihovi osobiti talenti i intere- ents and making skills. In a master department si, učimo ih vjerovati njihovoj intuiciji, a ne there are no students, there are only designers. prihvaćati samo prve dojmove, te razvijamo Professional designers who are ready to reflect njihove praktične sklonosti i vještine. Na di- on and develop their insights on what a design- plomskom programu nema studenata, nego er is, what role and responsibility they have in samo dizajnera, i to profesionalnih dizajnera a society and what the impact is (or should be) koji su spremni misliti i obogatiti svoje spozna- of their design practice; and formulate their je o tome što dizajneri jesu, kakva je njihova personal reasons for doing it. uloga i koja im je odgovornost u društvu, te kakav je (ili kakav bi trebao biti) utjecaj njihove prakse. Napokon, važno je i da otkriju svoje razloge za dizajnersko djelovanje.

interview: jan boelen 43 Pregled Hrvatskog dizajna 1314

razgovor: armin vit 44 croatian design review 1314

Armin Vit: Radimo stvari koje bismo, kao grafički dizajneri, voljeli čitati, gledati, kupovati ili u njima sudjelovati / Doing things that we, as graphic designers, would like to read, see, buy, or attend

razgovarao / interviewer Marko Golub

Postoji li neka crvena nit koja povezuje sve Is there a common red thread which can be ono čime se UnderConsideration bavi, bu- used to describe what UnderConsideration dući da je riječ o jako puno područja koja is all about, since it’s so many things at once uključuju i vaš dizajnerski rad, različite web and encompasses both your design work, platforme i blogove, konferencije, izdavaš- different web sites and blogs, conferences, tvo i druge stvari? Možemo li govoriti o odre- publishing etc? Is there a common idea, con- đenim objedinjujućim idejama, konceptima cept, agenda, goal and purpose? i ciljevima? It would have to be an enjoyment for graphic Riječ je o svojevrsnom uživanju u grafičkom design. A celebration of what we do. We – me dizajnu i slavljenju onog čime se bavimo. Moja and my business partner and wife, Bryony – supruga i poslovna partnerica Bryony i ja smo are graphic designers first and foremost who prije svega grafički dizajneri, a u praksu pi- happened to stumble on this business where sanja, izdavaštva i organizacije događanja o we write and publish about graphic design and grafičkom dizajnu ušli smo slučajno. Iako da- organize events and earn our living more as nas možemo živjeti od kustoskog i organiza- curators and enablers but I feel what has made torskog posla, smatram da su naša nastojanja all of our efforts successful is that we are doing bila uspješna prvenstveno zato što radimo one things that we, as a graphic designers, would stvari koje bismo, upravo kao grafički dizajneri, like to read, see, buy, or attend. i sami voljeli čitati, gledati, kupovati ili u njima sudjelovati. To what extent do you see Underconsider- ation as something of a brand which stands U kojoj mjeri vidite Underconsideration kao for your and Bryony Gomez-Palacio’s work, svojevrsni brend koji predstavlja rad Armina as opposed to something that, through it’s Vita i Bryony Gomez-Palacio, u odnosu na different faces and spin-offs, became a sort činjenicu da je on, kroz sva svoja lica i izve- of a network? denice, postao i svojevrsna mreža? To every extent! We try to set a standard in exe- U punoj mjeri! Pokušavamo uspostaviti stan- cution, tone-of-voice, and consistency that you dard izvedbe, ton glasa i konzistentnost kakva would find applied to any product or service se inače primjenjuje na bilo koji proizvod ili designed by a firm for a client. The network

interview: armin vit 45 Pregled Hrvatskog dizajna 1314

Konferencija Brand New 2010 / Brand New Conference 2010 uslugu koju neka tvrtka dizajnira za klijenta. and all our projects are unified – we like to Vjerujemo kako su ta mreža i svi naši projekti believe – by good design, approachability, and zapravo objedinjeni dobrim dizajnom, pris- a little bit of challenging of the status quo. In tupačnošću te određenim suprotstavljanjem stand-up comedy there are some perform- statusu quo. U stand-up komediji za određene ers who are known as a Comedians’ comedian, izvođače postoji termin comedians’ comedian, someone who understands the business and a odnosi se na one koji duboko razumiju svoj knows how to cater to it or subvert it from posao i znaju kako ga komunicirati ili čak sub- inside; I think we play a similar role and that’s vertirati iznutra. Mislim da mi igramo sličnu the personality we try to cultivate and convey, ulogu, to je vrsta osobnosti koju pokušavamo we are Designers’ designers, doing things that kultivirati i izraziti – mi smo dizajnerski dizaj- make us all enjoy the industry a little more. neri, radimo stvari koje nam svima pomažu da više uživamo u poslu kojim se bavimo. A lot of what you do is somehow about sharing experiences, opinions and thoughts, and Mnogo toga što radite povezano je s dijelje- some of the projects (such as Flaunt) are di- njem iskustava, stavova i razmišljanja, a neki rectly about helping young designers find od projekta, poput Flaunta, izravno poku- their way on an extremely competitive job šavaju pomoći mladim dizajnerima da pro- market. This, but also the book Graphic De- nađu svoj put na izrazito kompetitivnom sign Referenced, can be seen almost as educa- tržištu rada. Ovaj projekt, ali i knjiga Graphic tional tools for designers. Is this what they Design Referenced, mogu se u tom smislu are exclusively about, or is there another, razumjeti gotovo kao edukativni alati za di- deeper and more personal side to it? zajnere. Je li to njihova glavna svrha ili imaju It’s a tangential benefit that we have been able i neku drugu, dublju i osobniju stranu? to create educational tools. It’s not our main To što smo uspjeli razviti određene edukacij- mission nor is there a deep passion for it, to ske alate vidimo više kao usputnu kvalitetu, be honest. Flaunt, for example, was about us budući da nam to nije cilj niti, da budem iskren, seeing a hole in the market – there are no (or imamo neku preveliku strast prema edukaciji. few or helpful) books about how to make a Flaunt, primjerice, proizašao je iz opažanja da physical portfolio – and making a product that postoji određena prazna niša na tržištu, jer would sell well and be functional. Graphic De- gotovo da nema knjiga o tome kako napraviti sign Referenced came at a point where we were fizički, tiskani portfolio. Htjeli smo proizvesti very interested in writing books and we were nešto što će se dobro prodavati, a od čega će presented with an opportunity to create some- dizajneri imati koristi. Knjiga Graphic Design thing ‘educational’ but the truth is that we ap- Referenced nastala je pak u trenutku kad nas je proached it as a history and reference book for jako zanimalo pisanje, a pružila nam se prilika the things every graphic designer should know da realiziramo nešto što će biti ‘edukativno’. about to survive in our industry not so much Međutim, pristupili smo joj prije svega kao as a historical textbook. In short: we aim first

razgovor: armin vit 46 croatian design review 1314

Brand New Conference 2010 promotional material knjizi o povijesti i referencama za koje smatra- for a functional, marketable product with the mo da svaki grafički dizajner mora poznavati bonus that it teaches something to someone. kako bi preživio u industriji. Ona, dakle, nije udžbenik iz povijesti dizajna. Ukratko, težimo One of the things that I find very interesting ponajprije napraviti funkcionalan tržišni pro- is the life cycle of the projects, specifically izvod, koji usput može i nekoga nešto naučiti. blogs and websites. You don't neccessarily keep them around forever, and when they Zanimljivo je da vaši projekti, konkretno fulfilled their purpose or if the enviroment blogovi i web stranice, imaju svojevrsni ži- in which they were started changed – you votni ciklus. Ne ustrajete na tome da ih drži- just discontinued them. This is the obvious te živima zauvijek, te ih ipak ugasite jednom case with Speak Up, which was very popular kad ispune svoju funkciju ili se kontekst za at the time, but also with WordIt and other koji su nastali promijeni. Očiti primjer je things. Speak Up, koji je u svoje vrijeme bio izuzetno Indeed, it can be almost as difficult to launch popularan, ali i Word It, te nekoliko drugih a blog or a project as it is to shut it down. You projekata. have to be able to detach yourself from any Istina, ponekad je podjednako teško pokrenuti sentimental feelings you have for it and ask Is blog ili projekt kao i ugasiti ga. Morate se moći this still fulfilling its original purpose? or Am I still odreći sentimentalne vezanosti za njega i za- enjoying this? Sometimes it can be a financial pitati se ispunjava li on svoju izvornu svrhu, decision, which actually makes things easier: ili – da li još uvijek uživate radeći na njemu? This doesn't make any money or return on in- Nekad je odluka financijske prirode, no tada ju vestment, then that’s it, shut it, no discussion. je puno lakše donijeti – ako nam nešto ne vraća With Speak Up there was a lot of emotional uloženo, mi taj projekt gasimo, bez diskusije. and intellectual investment that made it really Speak Up je za nas bio velika emocionalna i in- hard to shut it down but in the end it failed all telektualna investicija te ga je zato bilo teško the questions we asked. prekinuti, ali na kraju su odgovori na sve naše dvojbe oko tog projekta ipak bili ne. Your work seems to reflect some kind of passion for communication, sharing and Vaš rad kao da odražava određenu strast pre- making contact with other designers from ma komunikaciji, dijeljenju i povezivanju s the very beginning. Do you see this as some- drugim dizajnerima od samog početka. Vi- thing that has to do with your background dite li ovo kao nešto što možda ima veze s and the fact that you came to the United vašim zaleđem, odnosno činjenicom da ste States from Mexico and having to find your došli iz Meksika i morali ste pronaći neki way on the design scene on your own? put na dizajnersku scenu u Sjedinjenim That’s some very good psychology work! I had Državama? never thought about it that way. The direct an- Vrlo dobra psihološka analiza, nikad nisam swer would be: No. The goal wasn't so much for razmišljao na taj način. Izravan odgovor bio me to make contact with designers as it was to bi: Ne. Moj cilj nikad nije bio toliko uspostaviti bring designers together, in an independent kontakt s drugim dizajnerima, koliko povezati forum, to talk about things that I thought were same dizajnere međusobno na nekom neovi- interesting or things that had no other place snom terenu. Htio sam da razgovaramo o stva- to be discussed. It was never a yearning to be rima za koje sam mislio da su zanimljive, a o included or even being part of the design com- njima se drugdje nije moglo razgovarati. Dakle, munity, it was more about having a platform nikad nije bilo čežnje za tim da se uključim ili where I could express my opinions. postanem dio dizajnerske zajednice, nego se

interview: armin vit 47 Pregled Hrvatskog dizajna 1314

radilo o tome da želim uspostaviti platformu At some point you were working on a proj- na kojoj ću moći izraziti svoje stavove. ect for the Design Encyclopedia, which was indeed an ambitious idea about something U jednom trenutku radili ste na projektu that is still very much needed even now. Enciklopedije dizajna, što je uistinu bila am- What happened to that project, what was biciozna ideja vezana uz nešto što se i danas the idea behind it, and is it going to be re- čini jako potrebnim. Što se dogodilo s tim alized at some point in the future? projektom, koja je ideja stajala iza njega i The original idea was very simple: A graphic hoće li se on ostvariti nekad u budućnosti? design Wikipedia. So for every relevant entry Izvorna ideja je bila vrlo jednostavna – htjeli on Wikipedia there would be one on our site. smo napraviti Wikipediju grafičkog dizajna. So if Wikipedia had a page for IBM with all the Dakle, za svaki relevantan pojam na Wikipe- history of the company and the machines and diji postojao bi odgovarajući članak o istome i everything, we would have one about Paul na našoj stranici. Ako, na primjer, Wikipedija Rand and the packaging and the late 1990s ima članak o IBM-u koji pokriva čitavu povijest annual reports. We expected designers to stop kompanije, njihovih strojeva i svega drugo- doing what they were working on and build ga, mi bismo imali članak koji govori o Paulu pages and pages and pages just like the Wikipe- Randu, ambalažama i godišnjim izvješćima iz dia community. But that never happened and 1990-ih. Očekivali smo da će sami dizajneri we were not able to spend as much time on it povremeno pauzirati od svog posla i tipkati as we wanted. The technology behind the site stranice i stranice i stranice sadržaja na način was also very limiting – this was 2005! – and we na koji to čini Wikipedijina zajednica. No, to were never able to find a flow. At some point se nikad nije dogodilo, a ni mi nismo mogli around 2006 the site would not take any login posvetiti projektu onoliko vremena koliko information anymore so neither us nor any of smo željeli. Tehnologija iza samog sjedišta ta- the two or three users could log-in anymore. kođer je bila ograničavajuća, riječ je 2005-oj. Then pages started to literally break apart on U jednom trenutku 2006. godine na stranicu their own. After a year of seeing it devolve we se više nije moglo ulogirati, što je značilo da finally decided to reboot it and I made a new je ni mi, niti ostalih dvoje ili troje korisnika, design and started sketching a new content nismo više mogli koristiti. Zatim su se stranice management system specifically for our needs počele raspadati same od sebe, a nakon što smo but when it came time to hire a programmer godinu dana gledali kako propada odlučio sam to build it we decided the cost was too high, ponovno pokrenuti projekt, redizajnirao sam the return too little, and we were just not pas- ga i počeo skicirati novi CMS prilagođen njego- sionate about it. So we shut it down without vim specifičnim potrebama. Međutim, kad je mercy! Right now, we have zero interest in došlo vrijeme da angažiramo programera koji reviving it. će izgraditi sajt do kraja, zaključili smo da će ci- jena biti prevelika, učinak premali, a ugasila se Which of your current online projects do i naša strast prema samoj ideji. Na kraju smo ga you see as most important, most active and ukinuli bez milosti! U ovom trenutku nemamo most influential at this point? nikakvog interesa za njegovim oživljavanjem. Brand New, the blog. Without question. It gets around 1.5 million pageviews a month, which Koji od aktualnih online projekata u ovom is not huge in the realm of famous internet trenutku vidite kao najvažniji, najaktivniji content sites but for a blog about logos it’s a lot. i najutjecajniji? What’s great about it is that it’s grown beyond Blog Brand New, bez sumnje. Ima oko milijun the design community: clients read it. I have i pol pogleda mjesečno, što nije jako puno u heard from numerous design friends who tell odnosu na neke druge utjecajne portale, ali za me their clients read Brand New and that they blog koji se bavi logotipovima, to je jako puno. want to make sure their new identity does Velika stvar kod njega je to da je prerastao okvir well when they launch it! I love writing Brand dizajnerske zajednice te ga čitaju i klijenti. Od New and running it and seeing all the stuff mnogih prijatelja koji se bave dizajnom čuo that comes in and how passionate people are. sam da njihovi klijenti čitaju Brand New i nadaju se da će njihovi novi vizualni identiteti How did the Brand New website start and tamo dobro proći kad ih objave. Volim pisati what were your initial ideas about where za Brand New, uređivati ga i pratiti što se sve you wanted to go with it? na njemu pojavljuje te kako strastveno čitatelji It actually grew from Speak Up. The posts on na to reagiraju. Speak Up were supposed to be thoughtful, almost long-form essays about important (and Kako je Brand New započet i koje su bile not so important) design topics and the com- početne ideje oko toga što želite s njim? ments generated from the initial post were ex- Zapravo je proizašao iz Speak Upa. Postovi na pected to be very well thought out responses. Speak Upu su trebali biti misaoni, poduži eseji o Around 2004, 2005 we started posting more važnim i manje važnim dizajnerskim temama, about logos on Speak Up. Like UPS, AT&T, VH1, a komentari na izvorne postove dobro promi- United Way, and other important logos and šljeni odgovori. Oko 2004. ili 2005. počeli smo the comments were very much I hate it, I love objavljivati sve više logotipova, poput onih za it and not much more. Then people started UPS, AT&T, VH1, United Way i druge koji su nam complaining that we had too many logo posts

razgovor: armin vit 48 croatian design review 1314

Brand New Conference bili važni, a komentari su se svodili samo na and that the discussions were useless. So we sviđa mi se, ne sviđa mi se, i ne puno više od toga. just moved the logo discussions out of Speak Ljudi su nam se počeli žaliti da previše objavlju- Up and into a new blog, Brand New. There was jemo logotipove i da su diskusije oko njih po- no big ambition with it. At the beginning, in stale besmislene. Stoga smo samo preselili sve 2006, we posted one or two redesigns a week rasprave o logotipovima sa Speak Upa na novi but it grew bigger and bigger and it just be- blog, Brand New. Nije tu bilo nikakve velike came this big thing and the most important ambicije. U početku, 2006. godine, objavljivali contributor to its growth was receiving tips smo po jedan ili dva redizajna tjedno, ali onda (and me acknowledging and thanking people je počelo sve više rasti i s vremenom postalo by name in each post). This gave readers a real velika stvar. Najvažniji čimbenik rasta bile su sense that they were helping us. And they sure donacije čitatelja, za koje sam osobno zahva- did. In the past year or two we consistently ljivao ljudima poimence ispod svakog posta. receive between 30 and 50 tips per week. To je dalo čitateljima osjećaj da nam stvarno pomažu. A svakako jesu. U prethodnoj godini What do you see as it’s greatest benefits for ili dvije u prosjeku dobivamo između 30 i 50 the design community on the one side, and donacija tjedno. the business world on the other? Also, what do you see as it’s weaknesses? Što vidite kao glavnu dobrobit ovog projekta At its best, it serves as a barometer for what s jedne strane za dizajnersku zajednicu, i s is good and bad in both design execution and druge za poslovni svijet? Također, što misli- brand thinking. So it’s an endless range of case te da su njegove slabosti? studies where you have my opinion and the U najboljem smislu on služi kao barometar opinion of a hundred other people. You can za sve ono loše i dobro u praksi dizajna i raz- get a pretty good sense of what you should mišljanju o brendovima. Riječ je o beskonač- be following as best practices. For clients, I nom rasponu studija slučajeva gdje možete think having this resource where you see vidjeti što ja mislim, ali i što misle stotine dru- how other people react to a logo, identity, or gih. Dobivate prilično dobar osjećaj za to ka- brand is invaluable. There is a lot to learn for kve prakse vrijedi slijediti kao najbolje. Što se them too. The biggest weakness is time and tiče klijenata, mislim da je mogućnost da vide the demand for fresh content. I would love kako ljudi reagiraju na određeni njihov logo, to be able to spend 3, 4, or 5 hours writing a identitet ili brend neprocjenjiva. I oni tu imaju post and getting a chance to talk more with što za naučiti. Najveća slabost projekta je pak the designers or clients and do more research vrijeme i stalna potražnja za svježim sadržajem. to be able to present better case studies but I Volio bih da mogu provesti po tri, četiri ili pet simply don't have the time. Also, talking to sati na pisanje svakog posta te tako temeljitije clients and designers takes up a lot of time obraditi pojedine primjere, ali jednostavno and they slow the publishing schedule down. nemam vremena. Osim toga, razgovaranje s klijentima i dizajnerima uzima puno vremena, In the context of Brand New you also started što usporava sam ritam objavljivanja. a series of conferences. How did they come about, and what is their main focus? Iz konteksta bloga Brand New proizašla je i We do one Brand New Conference each year, serija konferencija. Kako su one započete i and this is our fifth year. What we understand što je njihov fokus? very well about Brand New is that we have a Svake godine organiziramo po jednu konfe- niche: logo, identity, and branding. Nothing renciju, a ovo nam je peta godina. Jako dobro more, nothing less. We have mastered that znamo da s Brand Newom zapravo već imamo niche and we know that there is a significant

interview: armin vit 49 Pregled Hrvatskog dizajna 1314

Brand New Conference 2013 Identity jasno određenu tematsku nišu: logo, identitet audience interested in it. Since 2005 we've i branding. Ništa više niti manje od toga. Savla- wanted to do a design conference but we were dali smo to područje i svjesni smo kako za njega never able to answer ‘What would make our postoji veliki interes publike. Konferencije o design conference different from others?’. dizajnu smo željeli pokrenuti još 2005., ali ni- With Brand New the answer was simple: it’s smo znali kako ih koncipirati da budu druga- a conference about and for people who make čije od svih ostalih. U ovom slučaju, odgovor logos, identities, and branding. That’s it. You je bio vrlo jednostavan: to je konferencija za design amazing posters? Great, you are not autore koji se bave logotipovima, identitetima invited to speak. You are an amazing book i brandingom, i to je to. Dizajnirate odlične cover designer? Great, you are not invited ei- plakate? Sjajno, ali nećemo vas pozvati. Jeste li ther. Keeping the focus on this topic allows us izvrstan dizajner knjiga? Odlično, ali ni vi niste to be really selective about the speakers and, pozvani. Zadržavanje jasnog fokusa na temu lucky for us, there is no shortage of amazing dozvoljava nam da budemo stvarno izbirljivi logo, identity, and brand designers around the oko predavača, a dobrih dizajnera logotipa, vi- world. Outside of that main topic, we don't zualnih identiteta i brendova nam, srećom, ne assign any themes or concepts. nedostaje. Osim glavne teme, nemamo neke posebne pod-teme i koncepte. Do you consider your own work in graphic design as influenced or informed by all the Smatrate li da je vaš vlastiti rad u grafičkom writing and research you did through all dizajnu pod utjecajem pisanja i istraživanja those other projects and activities we just koje se odvija kroz sve ove projekte o kojima talked about? smo pričali? The biggest influence all that research has had Najveći utjecaj koji je svo to istraživanje imalo is that it has filled my head with hundreds of na mene jest to da mi je napunilo glavu stoti- design references that I've never been shy nama referenci koje se nisam sramio koristiti, about using and repurposing and drawing prenamjenjivati i crpiti ideje iz njih. To je kao from them. It’s like having a pantry of ingre- da imate punu ostavu sastojaka u koje možete dients that you can grab a little from each to posegnuti kako biste osmislili neki novi re- make a new recipe. But in terms of historical cept. Međutim, što se tiče nekih konkretnijih and/or theoretical influence… it’s hard to say. historijskih ili teoretičarskih utjecaja, to mi je teško reći. Your first major career move was working with Pentagram some years back. Can you Prva važnija točka u vašoj karijeri bila je rad describe this experience, what did you learn za Pentagram prije sad već dosta godina. there and did it give you some direction for Kako biste opisali ovo iskustvo, što ste na- what you do now? učili iz njega, i je li vas ono na bilo koji način Yes, working for Pentagram was a big deal usmjerilo prema onome što radite danas? for me. It kind of validated the work that I Da, rad za Pentagram je za mene bio jako va- had been doing up to that point, which had žan. Taj je angažman na neki način potvrdio been for smaller, lesser known firms – that da je moj dotadašnji rad za manje poznate fir- it was of good quality to be even considered me bio dovoljno kvalitetan da bi ga netko od by a Pentagram partner. I was lucky that that partnera u Pentagramu htio razmotriti. Imao partner was Michael Bierut, who is one of sam sreće što je taj partner bio upravo Mic- the smartest designers in the industry. What hael Bierut, jedan od najpametnijih dizajnera I found amazing is that no matter how big or u cijeloj industriji. Bez obzira je li bila riječ o small the client was – whether it was $250,000 malim ili velikim klijentima, projektima za project for a national organization or a $15,000

razgovor: armin vit 50 croatian design review 1314

Brand New Conference 2013 publication

250 000 dolara za nacionalne organizacije ili project for a local business – it was always just 15 tisuća za male tvrtke, uvijek smo ih radili me and Michael working on it. It was never samo ja i Michael zajedno. Dakle, nema nekog this giant team of designers of different lev- gigantskog tima dizajnera u strogoj hijerarhiji s els and project managers and strategists and projektnim menadžerima, stratezima i kojeka- whatever. Just a couple of designers going to kvim drugim ljudima. Samo dvojica dizajnera every meeting, having every conversation koji odlaze na svaki sastanak, obavljaju svaki with the client, presenting every stage of the razgovor s klijentom i prezentiraju svaku fazu work. That’s all you need! Even at that level. It rada. To je sve što vam treba, bez obzira o kojoj meant a lot of work too. But that experience razini projekta je riječ. Puno se radilo, ali ovo gave me the confidence that with proper time iskustvo naučilo me je da se mogu pouzdati management and client expectation manage- u to da s dobrim raspolaganjem vremenom i ment you can do anything you want, which očekivanjima klijenata mogu napraviti sve što serves me and my partner really well being želim. Za mene i moju partnericu, koji također only two people. radimo udvoje, to je korisno znati. Is there something in particular that moves Postoji li nešto što vas posebno potiče ili or inspires you in your design work? inspirira u vašem dizajnerskom radu? I really enjoy blowing up a trend or making Zapravo uživam kad začnem neki trend ili so many design references that your head kad uspostavim toliko dizajnerskih referenci kind of explodes. This has been the way we've da vam glava od toga eksplodira. Na ovaj smo been designing the identity for our Brand New način dizajnirali identitet konferencije Brand Conference for the last three years. We have New u posljednje tri godine. Morate znati da a very well-versed audience so it gives us the imamo vrlo dobro verziranu publiku, što nam opportunity to play with what they know – it daje priliku da se poigravamo s onim što je also poses a big challenge in that we have to njima već jako dobro poznato, ali također pret- surprise them because they won't accept any postavlja i priličan izazov, jer ih uvijek moramo boring identity. So I really enjoying starting nečim iznenaditi – dosadan novi identitet im with an existing idea and taking it to an ex- se nikad ne bi svidio. Dakle, volim započeti s treme, see how far it can be pushed until it nekom već postojećom idejom i onda je do- becomes something else, something with its vesti do ekstrema, vidjeti koliko se je može own voice, even if it’s based on something napregnuti dok ne postane nešto sasvim drugo, previous. nešto s vlastitim glasom, bez obzira iz čega je nastala. Do you see your role as designer as purely a service for the need of your clients, or is Vidite li svoju ulogu kao dizajnera čisto kao there always also something more adven- servis za potrebe vaših klijenata, ili i u tom turous going on in your mind when you kontekstu nalazite i neku mogućnost da se work with texts and images?

interview: armin vit 51 Pregled Hrvatskog dizajna 1314

NYU School of Law Capital Campaign

avanturistički poigrate s tekstom, slikom i When we do work for clients, which is not idejama? that often, or when I was at Pentagram and Kad smo radili za klijente, što danas i nije tako the other designer firms I firmly believed that često, ili u vrijeme dok sam radio za Pentagram we were 100% a service to our clients’ needs. i neke druge dizajnerske tvrtke, čvrsto sam They are giving us money to achieve a specif- vjerovao da smo mi stopostotno servis za po- ic result. They are not paying us to explore trebe naših klijenata. Oni nam daju novac za our creativity or artistical adventures – it’s an koji očekuju točno određen rezultat, ne plaćaju added benefit that we get to be creative and nas da istražujemo svoju kreativnost i ulazimo surprise clients with great design. I'm always u umjetničke pustolovine – no sretna je pogod- thinking first about what can I do to make this nost to što ipak imamo priliku biti kreativni client communicate better, not what can I do i iznenaditi klijente odličnim dizajnom. Uvi- to satisfy any self-expression yearnings. But jek prvo razmišljam o tome što mogu učiniti within that thinking, yes, I am always trying da moj klijent komunicira bolje, a ne o tome to do something that is interesting and that mogu li zadovoljiti svoju čežnju za samoizra- makes for an engaging combination of text žavanjem. Ali, unutar tog okvira razmišljanja and images and ideas. – da, uvijek pokušavam napraviti nešto što je zanimljivo i čini poticajnu kombinaciju teksta, There has always been a utopian aspect slika i ideja. around design in general – a strong continuity of how designers should strive to Dizajnerska praksa općenito uvijek je ima- make the world better through the inherent la određen utopijski aspekt, te unutar nje impact design has on people and society in postoji snažan kontinuitet težnji da se svi- general. On the other hand, graphic design- jet učini boljim sredstvima dizajna i nači- ers, especially those who mostly do commer- nom na koji on inherentno utječe na ljude cial and corporate work, almost always felt i društvo. S druge strane, grafički dizajneri, somehow removed from that. Why is this? a posebno oni koji rade u komercijalnom I have always been turned off by this idea that i korporativnom kontekstu, gotovo su se graphic design MUST do something to save the uvijek osjećali isključenima. Zašto? world, to make humanity better, to impact Nikad mi se nije sviđala ideja da grafički dizajn social issues. That’s a personal choice for each MORA napraviti nešto da bi spasio svijet, uči- designer to make. If that’s the kind of work nio čovječanstvo boljim i utjecao na društve- and clients and audience they want to design na pitanja. Za svakog dizajnera ovo je pitanje for then let each designer make that choice osobnog izbora. Ako je to vrsta posla, klijenata and not make the rest of us feel guilty for de- i publike kojom se želite baviti, onda morate signing an amazing brochure for, whatever, for pustiti i svakog drugog dizajnera ponaosob Nike and helping them make another million da odluči sam što on želi, bez da ga tjerate da dollars that will go into the pockets of some se osjeća krivim jer je dizajnirao neku jako CEO and have zero effect on society. That’s my dobru brošuru za Nike ili pomogao zaraditi choice. So I think designers who choose to još jedan milijun dolara koji će otići u džep work for corporations and consumer brands nekog CEO-a. To je moj izbor. Dakle, mislim they are doing a service that they believe in da dizajneri koji biraju raditi za korporacije i and enjoy, through a process they understand konzumerske brendove rade onu vrstu uslu- and can make the best of. ge u koju vjeruju i koja ih čini zadovoljnima, kroz proces koji dobro razumiju i iz kojeg znaju In Croatia it is almost taken for granted that izvući ono najbolje. most good graphic design comes from the cultural scene. For most people it’s really

razgovor: armin vit 52 croatian design review 1314

Spike tv Logo exploration

U Hrvatskoj se gotovo podrazumijeva da hard to make a name for themselves by većina dobrog grafičkog dizajna dolazi s working outside of that context. Can you kulturne scene. Za većinu je zapravo teško compare your own experience, and could probiti se kao autorska imena radeći izvan you comment on that? tog konteksta. Možete li usporediti svoja I actually think that’s a worldwide opinion! vlastita iskustva, ili komentirati? I even see it here in Austin, TX. Design firms Zapravo mislim da isto mišljenje vlada svuda here don't want to work for IBM or Dell – and u svijetu, čak i ovdje u Austinu u Teksasu. Di- if they do, it’s rarely work they promote much zajnerske firme ne žele raditi za IBM ili Dell, a – but they all want to work for the museums, čak i kad rade za njih taj rad rijetko vole previše theaters, music venues, and festivals because pokazivati. Svi žele raditi za muzeje, kazališta, it’s fun, creative work. It’s almost a cliché that glazbena događanja i festivale jer je to zabavan cultural clients allow you more creative free- i kreativan posao. Gotovo je klišej to da klijenti dom and that’s why that work is always more iz područja kulture daju više kreativne slobode exciting but I think it’s not that the clients are i kako je zbog toga takav rad uvijek uzbudljiviji. cooler or more creative but that their audience Mislim da se tu ne radi o klijentima koji su is more receptive and expects a certain kind of otvoreniji ili skloniji kreativnostima, nego je visual excitement than the audience of, again, riječ o publici koja očekuje neku drugu vrstu IBM or Dell. The clients, themselves, at IBM vizualne senzacije od publike, recimo, IBM-a i or a museum or festival have the exact same Della. Klijenti sami, bez obzira je li riječ o IBM-u responsibilities and the same goal to increase ili nekom muzeju ili festivalu, imaju potpuno revenue or attendance and even the same un- iste odgovornosti i iste ciljeve – primjerice, derstanding of design but it’s really the end povećanje posjećenosti ili zarade. Oni čak na audience that ultimately allows for what we potpuno isti način razumiju sam dizajn, ali u designers perceive as interesting or uninter- konačnici zanimljivost ili nezanimljivost ne- esting work. There is a lot of shitty work for kog rada određuje publika. Ima i puno lošeg cultural institutions and a lot of fantastic work rada za kulturne institucije, kao i fantastičnih for corporate clients. radova za korporativne klijente. What’s your next big project? Koji vam je sljedeći veliki projekt? We are in the midst of thinking about it, ac- Zapravo baš razmišljamo o tome. Trenutačno tually. The current contender is another con- je najizglednija još jedna konferencija, s vrlo ference, with another very particular theme. specifičnom temom. Ne mogu još otkriti o Can't reveal it yet but our goal is for it to allow čemu se radi, ali cilj nam je s njom probiti se us to break a little bit outside of our current izvan dosadašnjeg kruga publike i prerasti u audience and grow into sort of the outer layer nešto širi okvir od grafičkog dizajna, prema of graphic design and into the general creative kreativnoj industriji općenito. Osim toga, audience. We are also building an office! We gradimo si i ured! Dosad smo radili od kuće, work from home and so far, for five years now, već pet godina ured nam je prostorija koja je we've been working from what was supposed trebala biti spavaća soba, što je dobro funkcio- to be the master bedroom, which has served us niralo, ali je vrijeme da se iselimo. Uposlili smo well but it’s time to move out. We've hired an arhitekta, polako dovodimo izvođače radova. architect and we'll be bringing in contractors Baš odraslo od nas. and all. It’s so grown up.

interview: armin vit 53 Pregled Hrvatskog dizajna 1314

Dizajn vizualnih komunikacija

Vanja Cuculić

Žiriranje je zahtjevna rabota. Grupa neistomišljenika prisilno okupljenih za tu zgodu pokušava profunkcionirati kao skladan organizam te odvagati i razdvojiti dobro od lošeg. I to u razu- mnom roku. Selekcijska odluka je sama po sebi jednostavna jednadžba: rad prolazi selekciju ako dobije više da nego ne. Na žalost ne bavimo se matematikom nego dizajnom. Koliko god se opirali tome naša struka je u svojoj osnovi subjektivne naravi. Naravno, postoje određeni tehnički i estetski minimumi koji su općeprihvaćeni i mjerljivi. Sve iznad toga ulazi u svemir osobnih iskustava, preferenci, znanja i želja. Selekcijska komisija je sačinjena od vrlo osjetljivih biljaka sakupljenih iz različitih terarija. Pa tako na jednom mjestu imamo dva grafička dizajnera koji se žučno prepiru oko kroja neke haljine, web dizajnera koji proučava konstrukciju stolca, produkt dizajnericu koja sa zanimanjem prati promotivni video studentske vježbe iz tipografije i modnu dizajnericu koja pokušava odgonetnuti funkciju složene korporativne web stranice. Da budem precizniji ni unutar pojedinih kategorija situacija nije ništa čišća, dapače. Primjerice vizualne komunikacije o kojima pišem nisu ništa drugo nego skup barem desetak različitih podkategorija koje egzistiraju u toliko drukčijim tržišnim, socijalnim, prostorno-vremenskim i inim okruženjima da s punom odgovornošću mogu ustvrditi da se radi o različitim strukama. Dizajner koji radi plakate za progresivni glazbeni festival (i od toga živi) ne dijeli isti kruh s kolegom koji je zaposlen u domaćoj podružnici međunarodne marketinške agencije.

Hrvatska dizajnerska scena, pa tako i produkcija podijeljena je u sve jasnije definirane niše. Dogodilo se ono što je pred desetak godina bilo gotovo nezamislivo; dogodila se specija- lizacija. Mladi dizajneri po završetku formalnog obrazovanja kreću u profesionalni život s već jasno izgrađenim stavom što žele raditi. Nema svaštarenja po raznim studijima, sve je manje šegrtovanja i ispipavanja tržišta po receptu ‘idem par godina u neku agenciju, pa ću otvoriti svoj studio’... Nove generacije se hvataju područja za koje imaju interes ili smatraju da se tom dizajnerskom podkategorijom oportuno baviti. Taj stav se ne izgrađuje u praksi nego se formira već na fakultetu. Razlog tome nije kvalitetan obrazovni sustav nego činjenica da se dizajnerska scena koliko toliko definirala i, što je još važnije, da je unatoč recesiji stabilna. Mladi dizajneri danas naprosto imaju referencijalne točke u vidu nešto starijih kolega u koje se na ovaj ili onaj način mogu ugledati i čiji poslovni model mogu preslikati. To nije ona vrsta ultimativne specijalizacije koja postoji u svijetu gdje si dizajnerski studio iz Kalifornije može priuštiti da radi samo vinske etikete već je to fino nijansi- ranje ipak nešto šireg područja interesa u cilju što kvalitetnijeg razvoja vlastitog dizajnerskog habitusa.

vanja cuculić: dizajn vizualnih komunikacija 54 croatian design review 1314

Navedenu segmentaciju uvjetuje naravno i tržišni kontekst. Uvidom u bijenalnu produkciju već poslovično najveći broj radova dolazi iz područja institucionalne i nezavisne kulture. Imamo vrhunski dizajnirane projekte iz područja kulture. I to je otprilike to. Navedeni projekti su do te mjere premoćni nad ostalima (onima privatnih investitora) da izložbu slobodno možemo tematski ograničiti i preimenovati u Izložba hrvatskog dizajna za kulturu. To nažalost samo govori o kulturi i marke- tinškoj pismenosti hrvatskog biznisa. Ovdje nije riječ samo o nepostojanju potrebe za dizajnom u ovoj sferi već i o manjku vizije u poslovnom smislu; naprosto nasušno manjka zanimljivih projekata i proizvoda u čijem bi projektiranju dizajn trebao biti način razmišljanja, a ne kozmetička nadogradnja. Ohrabruju i za svaku su pohvalu inicijative pojedinih studija koje idu u smjeru preskakanja klasične klackalice naručitelj-dizajner, a oslanjaju se na vlastite autorske inicijative u kreiranju cjelovitih proizvoda. Takvi primjeri, pogotovo ako se pokažu financijski isplativi mogli bi barem donekle pokrenuti kotačiće u nekim glavama.

Osim spomenutog kao najveći novum u kategoriji vizualnih komunikacija smatram sramežljive ali vrlo znakovite i važne pomake u rastućoj kategoriji signalistike. Tu se naziru inicijative koje dolaze iz institucija, tj. gradskih uprava za sveobuhvat- nim projektiranjem sustava označavanja ulica, trgova i zgrada. Bilo je i vrijeme. U posljednjih nekoliko godina svjedočimo upravo fantastičnom tipografskom bumu u Hrvatskoj koji je do te mjere odjeknuo dizajnerskom scenom pa slobodno mogu reći možemo početi baštiniti jednu novu eru. Taj kvalitativni skok na neki način postaje standard što je izvrstan kapital za budućnost. Još je jedan fenomen označio ovogodišnju selekciju. Zamijećen je značajan broj prijava kvalitetnih radova koji se mogu svesti pod zajedničku grupu: Dizajn vizualnih identiteta zubarskih ordinacija koje uglavnom posluju s inozemnom kli- jentelom. Hrvatski dizajn opet izmamljuje osmijehe više vani nego doma!

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Visual Communications design

Vanja Cuculić

Judging a competition is a very demanding task. A group of people who see things differently is forced to sit down for the occasion and try to function as a harmonious organism which needs to evaluate things and separate the good ones from the unsatisfactory ones. And all that within a sensible period of time. The jury’s decision functions as a very simple equation: a work can pass the selection if it gets more votes in favour than against. Unfortunately, in this case we are not dealing with math but with design. As much as we tend to deny it, our profession is basically a very subjective one. Of course, there are certain technical and aesthetical minimum criteria that are scalable and accepted by everyone. Everything beyond that belongs to the sphere of personal experience, preferences, knowledge and aspirations. The selection committee is made of very sensitive animals gathered from different tribes. Thus, we have two graphic designers vehemently discussing a particular cut of a dress, a web designer enquiring into a chair construction, a product designer with a great interest in a promotional video made as a part of the student typography course together with a fashion designer trying to decipher the function of a complex company web site. Visual communications, which are under the scrutiny of this review, for example, are nothing but a bundle of at least ten different subcategories co-existing in a rather diversified market, social, spatial, temporal and other circumstances in a way that I can responsibly claim that they all belong to different professions. A designer involved with posters for a progressive music festival (and making a living from that) does not walk in the same shoes as his or her colleague employed with a domestic branch of an international marketing agency.

The Croatian design scene as well as its production is segmen- ted into niches, which are getting more and more defined. So- mething that was almost impossible to image only ten years before finally happened, i.e. the profession is now specialized. Young designers upon graduation start their professional careers with pre-defined attitude on what they want to do. They do not have to run around different educational institutions, there is less apprenticeship and try-outs on the market along the lines of ‘I will start working for an agency for a couple of years and then open my own design studio’. New generations are getting involved with specific fields of their interest or at least they believe that a particular subcategory is worth a try. This position is not a result of their practical experience but rather formed during the course of their studies. The reason for this is not necessarily linked to the quality of the educational system but more with the fact that design scene has become more or less defined and that, which is even more important, it managed to remain stable despite of the recession. Nowadays

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young designers simply have some reference points in some of their senior colleagues who can, in one way or another, act as their role models whose know-how can be re-applied. This is not an ultimate specialization like the one that exists in the world where a design studio from California simply can afford to work only on wine labels; rather, it is a kind of fine-tuning in much broader fields of interest with the aim to creatively develop one’s own design practice.

Of course, specific context on the market shapes the conditions. The works presented at this biennale mostly comprise projects commissioned by entities belonging to institutional and independent culture. We have top quality design projects in culture. And that is that. Those projects are so unrivalled in comparison to others (those commissioned by private investors) that the exhibition might be thematically limited and renamed to the Exhibition of Croatian Design for Culture. Unfortunately, this only describes the Croatian business culture and marketing literacy. At this point, we are not only talking about inexistence of the need for design in this sphere but also about the lack of vision in the context of business. We simply have to face the fact that there is a great need for interesting projects and products where design would be a way of thinking and not merely cosmetical improvement. It is encouraging to see and we have to praise the initiatives brought up by some design studios whose direction clearly indicates that they are outreaching the classical commis- sioner-designer relation. Such initiatives emerge from designers’ initiatives to create complete final products. Those examples, especially if they prove to be profitable, might motivate other people to think differently.

Along the lines of the aforementioned, the biggest novelty in the visual communications category is a shy but remarkable step forward in the signalling category where we see some initiatives on the behalf of institutions or municipal authorities in search of comprehensive systems for indicating streets, city squares and buildings. It was about time. Over the past few years we have been witnessing a fantastic typographic boom resonating the design scene in Croatia so that one might openly conclude that we are about to step in a new era. This leap forward in terms of quality has, in a way, become standard making it an extraordinary capital investment in the future. There is another phenomenon that has marked this year’s selection. The jury noticed a considerable number of quality projects that can be classified under the category of:Design of visual identity for dentist clinics. Those clinics mainly operate with foreign clients. Again, Croatian design inspires more smiles abroad than at home!

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Industrijski / produkt dizajn

Tihana Taraba

Rekordan broj radova koji su prošli selekciju glavno su obilježje ove bijenalne izložbe hrvatskog dizajna. Dodamo li tome i či- njenicu da je više od polovice zastupljenih radova u proizvodnji čini se kako možemo biti zadovoljni, no unatoč tome još je puno netaknutog prostora koji tek čeka da se produkt dizajneri njime pozabave. Nekolicina već etabliranih proizvođača nastavljaju s plasmanom proizvoda domaćeg dizajna koji su tako postali i svjetski relevantni, a otvaranjem brojnih novih distribucijskih kanala dizajnerima manjih serija i manufakturnih proizvoda omogućen je plasman. Upravo su ove dvije činjenice u protekle dvije godine snažno oblikovale tržište a tim činjenicama definirani proizvodi čine okosnicu ovogodišnje selekcije, što nas dovodi do neizbježnog zaključka kako bez tržišta nema ni kvalitete. Ovogodišnju selekciju svakako će obilježiti činjenica da većina predmeta u konkurenciji nije kao nekad na razini koncepta ili prototipova nego se radi o stvarnim, živim, proizvodima koji su već duboko uklopljeni u svakodnevicu.

Dominantna preokupacija naših dizajnera u ovom je trenutku sjedeći namještaj, ojastučeni ili iz masiva, što je u prvom redu uvjetovano činjenicom da su dva najagilnija naručitelja i proizvođača prisutna na domaćem terenu Prostoria (bivša Kvadra) iz Hrvatske i bosanskohercegovački Artisan. Prvi je hrvatski lider u proizvodnji tapeciranog namještaja, a drugi je gotovo u potpunosti okrenut proizvodima iz masivnog drva. U manjem broju zamjetni su i proizvodi koji bi se mogli nazvati svakodnevnim dizajnerskim accessoarima a koji svoj život već uspješno žive kroz programe i ponudu različitih dizajnerskih trgovina, gift shopova i galerija posvećenim suvremenom hrvatskom dizajnu, kojih je svakog dana, na sreću, sve više. Ukupan dojam je, međutim, da još uvijek postoji ogroman prostor ne- taknutih segmenata unutar produkt dizajna – poput rasvjete, outdoor namještaja, posuđa, a o industrijskom dizajnu da ni ne govorimo.

Najveći izazov pred produkt dizajnerima danas jest održati dostignuti standard, tržište je na začetku i doslovno svakim danom postaje sve kompetitivnije, što će u konačnici dovesti do jasne profilacije samih dizajnera. Nedostatak takve profilacije dobrim dijelom odražava i slabu profiliranost tržišta, koje je još uvijek u razvoju. Ono što je primjetno u ovom trenutku je ‘svaštarenje’ i traženje pravog smjera u kojem bi se pojedinci i dizajnerski studiji trebali razvijati, a do toga će, naravno, doći jedino ako i svi drugi akteri u tom lancu budu posloženi kako treba: proizvođači, projektanti, arhitekti, građevinari. Svaka- ko treba obratiti pozornost na one dizajnere koji su odlučili pokrenuti vlastitu produkciju, jer njihova iskustva iz procesa

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proizvodnje i plasmana mogu biti od koristi svima. U tom smislu, selekcija radova ne odražava neki strog standard, jer unutar nje postoji ozbiljan raspon u promišljanjima, struktu- riranju i realizaciji proizvoda – od zanimljivih ideja i rješenja koja su gotovo na razini dosjetke, pa do sjajno osmišljenih i proizvedenih komada koji u sebi objedinjuju vrhunsku ideju i najviši industrijski standard, potpuno u skladu sa globalnim trendovima i kvalitetama. Istovremeno, javio se i pozitivan trend u kojem se dizajneri gotovo intuitivno obraćaju ‘precima’, odnosno inspiraciju traže u dizajnerskim proizvodima iz vremena kad je ukupna pozicija struke, zbog potpuno drugačijih društvenih, ekonomskih pa i političkih okolnosti, bila znatno drukčija.

Predstavljanje dizajnerske produkcije putem bijenalnih izlož- bi važno je kako za dizajnersku zajednicu tako i za ukupnu javnost. Jedni i drugi mogu dobiti dobar, dubinski uvid kako u tendencije unutar same profesije, tako i u stanje tržišta u cjelini. Bijenalni ritam smotre dobro korespondira s procesom razvoja i nastanka proizvoda. Općenito, svijest o postojanju i važnosti domaćeg produkt dizajna osobito je narasla u zadnje dvije godine, produkt dizajn postao je sveprisutan u medijima, no najveće je ohrabrenje činjenica kako je on sve više prisutan i u domovima ljudi u Hrvatskoj.

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Industrial / Product Design

Tihana Taraba

The record-breaking number of works that have passed this year’s selection makes one of the most important features of the latest biennale and exhibition of Croatian design. If we also add that most of the works presented fall under the Product category, it seems that we can be pleased. However, there are many undiscovered fields that still wait for the involvement of product designers. A number of already established producers continues, with placing internationally recognized domestic design products on the market while the emergence of some new distribution channels for designers working on small series and manufactured products also means a gateway to the market. Over the past two years these two facts have significantly influenced both the market and products, which have the central position on this year’s selection leading us to a well-known conclusion that without the market there is no quality. This year’s selection will undoubtedly be remembered for the fact that most of the products in the competition are not merely conceptual designs or prototypes, as it was the case previously, but actual, living products that have long become part of our everyday lives.

At this point, our designers are primarily preoccupied with seating furniture, either upholstered or solid wood, which is first and foremost related to the fact that there are two most agile companies acting as commissioners and producers on the market, i.e. Prostoria (formerly Kvadra) from Croatia and Artisan from Bosnia and Herzegovina. The former is a leading Croatian company in the production of upholstered furniture and the latter is entirely oriented to solid wood production. To a smaller degree there are also some products that could be classified as conventional designer accessories since they have successful life in various programmes in design shops, gift shops and galleries focused on contemporary Croatia design. Luckily, such places are becoming increasingly popular. Nevertheless, the general impression is that there is still a great potential in so far untackled segments of product design such as lighting, outdoor furniture, household utensils, not to mention industrial design.

The greatest challenge that product designers have to confront today is to reach the standards; the market is still emerging and literarily every day it is becoming more and more competitive which will finally result in a very clear distinctiveness among designers. The lack of such distinction is largely related to the fact that the market has not been shaped yet and that it is still developing. At this moment we can only see that designers have to use a wide range of tricks of the trade in order to find

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the best direction for the development of both individuals and design education. Of course, this is only possible if all other stakeholders in the chain have a clear vision of their role, from manufacturers to designers, architects and civil engineers. Naturally, it is important to pay special attention to all those designers who have decided to start their own production lines because their experience and know-how about production processes and placement on the market can serve to everyone. In that sense, this year’s selection does not necessarily reflect very strict criteria but rather it implies a considerable range of diverse thinking, structuring and production realization: from very interesting ideas and solutions on the merge of witticisms to conspicuously planned and later on produced items unifying superb ideas and the highest industrial standards, entirely in line with global trends and quality. At the same time, we see a positive trend where designers almost intuitively converse with ‘the forefathers’ finding their inspiration in designer products created in the times when the profession was in a completely different position due to various social, economic and even political reasons.

Presenting designer production on biennial exhibitions is important both for the designer community and the public in general. In this way both categories have the opportunity to get an insight into the main tendencies within the profession itself and the market as a whole. This rhythm corresponds well with the entire process of development and emergence of products. In general, awareness about the existence and importance of domestic product design has been significantly increased over the past two years: product design is much more present in the media but the most encouraging fact is that it is more present in people’s homes.

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Dizajn u digitalnim medijima / dizajn interakcija

Tin Kadoić

Novi mediji, elektronski mediji, dizajn u digitalnim medijima, dizajn interakcija... sama dinamika promjene imena kategorije kroz godine već dovoljno upućuje na konstantnu evoluciju ovog područja dizajnerskog djelovanja i naše percepcije istog. Potrebno je i s malim odmakom razlikovati dizajn interakcija i ostale nazive. Dok se kod novih, elektronskih i digitalnih medija primarno fokusiramo na medij produkcije samih radova (a on je u konstantnom razvoju), kod dizajna interakcija fokus je na dvosmjernoj komunikaciji korisnika i proizvoda – koji mogu biti mehanički, analogni, djelomično ili potpuno digitalni. U dizajnu interakcija primarni fokus je na zadovoljavanju potreba korisnika, a sama disciplina redovito se povezuje s nizom drugih – industrijskim dizajnom, ergonomijom, psihologijom, dizajnerskim istraživanjem, informacijskom arhitekturom, oblikovanjem sučelja, itd.

Iako smo na ovogodišnjoj bijenalnoj izložbi vidjeli restruktu- riranje i u drugim kategorijama, dizajn u digitalnim medijima teži široko obuhvatiti veliku brojnost i heterogenost unutar produkcije digitalnih sadržaja. Tako su se ove godine u prija- vama našli radovi koji sežu od umjetničkih web stranica, preko korporativnih sjedišta, medijskih portala, video spotova i mobilnih aplikacija, pa do, s mog gledišta posebno pohvalnih par radova u području interaktivnih instalacija. Pohvalno je da smo u odnosu na prošli bijenale zaprimili skoro dvostruki broj radova. Trend je svakako pozitivan, no i dalje apsolutni brojevi ne fasciniraju u odnosu na broj prijava u vodećoj profesionalnoj kategoriji Dizajna vizualnih komunikacija. Tržišno gledano, produkcija dizajna u digitalnim medijima u iznimnoj je ekspanziji, no same prijave brojčano to ne prate. Je li kvaliteta radova premala kako bi zadovoljila selekcijske kriterije? Ili proizvođačima tog sadržaja nisu zanimljive strukovne izložbe i nagrade? Svaka od strukovnih nagrada stavlja fokus na ra- zličite vrijednosti radova – strategija, oblikovanje, produkcija, copywriting, inovativnost, uspješnost, itd, no upravo ova vrsta kriterija, odnosno parametara, zahtijevala bi otvorenu raspravu oko toga koje su od tih vrijednosti najvažnije u širem društvenom kontekstu kako bismo bili transparentniji prema potencijalnim prijaviteljima za buduće izložbe. Bijenale HDD-a važan je primarno kao zapis vremena u kojem živimo. U tom zapisu bitni su nam i kvantitativni i kvalitativni pokazatelji smjera u kojem se krećemo.

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U sklopu profesionalne kategorije radova prepoznaje se izra- žen trend u segmentu tzv. responzivnog dizajna: tehnologije produkcije web stranica koja omogućava optimalni prikaz na svakom uređaju. Iako se najčešće misli na mobilne telefone, tablete i osobna računala, zapravo je cilj responzivnog dizajna prilagoditi proizvod svim uređajima, rezolucijama i ekranima, uključujući i one koji još nisu postali standard. Aktualna godina definitivno je prijelomna točka nakon koje sva kvalitetna digitalna rješenja moraju biti producirana na gore spomenuti način. Time će vrlo skoro distinkcija između responzivnog i neresponzivnog, nadamo se, vrlo skoro izaći iz upotrebe.

U kontekstu kategorije za koju sam pozvan u selekcijsku komisiju, htio bih staviti poseban naglasak na dizajn proizvoda. Izvan naših granica uobičajeno je da je product designer osoba koja se bavi procesom kreiranja novih proizvoda u najširem smislu. Naime, kod nas se vrlo često taj termin koristi naizmjenično s pojmom industrijskog dizajna, iako termin proizvod zapravo podrazumijeva ne samo fizičke artefakte, nego npr. i usluge i softver. Produkt dizajneri u ovom se smislu često bave isklju- čivo digitalnim proizvodima, no sudjeluju u svim procesima i fazama tog proizvoda. Startup kultura dodatno je pojačala ovu percepciju, pa tako kad razgovaramo o digitalnim kompanijama, zapravo razlikujemo one proizvodne, i one servisne.

Kroz naredne godine, dizajn interakcija zaslužuje snažniju i brojniju prisutnost u ovoj kategoriji. Riječ je o proizvodima koji su dizajnirani s korisnikom na umu (user centered design), s testiranim rasponom korisničkih scenarija, uzimajući u obzir sve varijable uređaja, ljudskih faktora te vanjskih utjecaja. Ra- dovi trebaju biti responzivni, no ne tek u ranije spomenutom smislu, već na način da se prilagođavaju duhu vremena, kao i međunarodnim trendovima – strateškim, strukturalnim, teh- ničkim, kreativnim i vizualnim. U ovom postindustrijskom društvu, digitalni proizvodi realnost su svjetske scene inovacije. Nadam se da to postaje i naša budućnost.

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Design and Digital Media / Interaction Design

Tin Kadoić

New media, Electronic Media, Design and Digital Media, In- teraction design… The very dynamics of change of the name of this category over the years implies that there is a constant evolution in this field of design activity and our perception thereof. On the other hand, we need to step back and make a difference betweeninteraction design and other names. While with new electronic and digital media we are primarily focused on the production medium (which is constantly developing), in case of interaction design the focus is on the two-way communication between the user and the product – they can be mechanical, analogue and partially or completely digital. In interaction design the basic focus is put on satisfying the user’s need and the discipline itself is regularly connected with a series of other disciplines such as industrial design, ergonomics, psychology, design research, information architecture, interface design, etc.

Although this year’s biennale showcased some restructuring in other categories as well, digital media design strives to comprise heterogeneity and a great number of digitally produced projects. This year’s applications thus incorporated projects ranging from artistic web pages, corporate headquarters, media portals, videos and mobile phone applications to, which I find especially praiseworthy, a few projects dealing with interactive installations. It is also plausible to see that in comparison with the last biennale this year we have almost twice as many works. The trend is by all means a positive one, however, the absolute numbers are not so impressive as compared to the number of applications in the leading professional category, i.e. Visual Communications Design. From the market perspective, design production in digital media has been significantly expanded but the number of applications apparently do not follow the trend. Is the quality of works bellow the level meeting the selection criteria? Or, maybe, the producers of this type of content do not find professional exhibitions and award interesting enough… Every professional award focuses on a different set of values such as strategy, design, production, copywriting, innovation, successful outcome and so on, but such criteria or parameters would call for an open discussion on the most important values in a broader social context in order to establish a more transparent approach to potential applicants for some future exhibitions. The CDS Biennale is important primarily as the record of time in which we live.

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For this record we need quantitative and qualitative indicators of the direction we have taken.

In the professional category we see an explicit trend in the segment of the so-called responsive design or technology used for the production of web pages allowing for an optimal display on multiple devices. In spite of the fact that everyone thinks that those devices are mobile phones, tablets or personal computers, the aim of responsive design is to adapt the product to all various kinds of devices, resolutions and screens, including those which have not became standard. This year definitely marks a breaking point after which all quality digital solutions have to be produced in line with the above described principles. We hope that this will lead to complete elimination of distinction between the responsive and non-responsive very soon.

In the context of the category in which I have been one of the jurors, I think it is very important to explain the use of the syntagm ‘product design’. Outside of our country, product designers deal with the process of creating new products in the broadest sense of the word. In Croatia we tend to use the term sometimes in the context of industrial design, although the term ‘product’ actually implies more than physical artefacts, i.e. services or software. Product designers in this sense often work on digital products exclusively but they also participate in all processes and phases related to that product. The so-called start-up culture has additionally added to that kind of perception and when we talk about digital companies we actually make a distinction between those involved with production on the one hand and those involved with services on the other.

In the following period interaction design deserves a stronger and more prolific presence in this category. We are talking about products designed according to the user centred design principle, with tested range of user scenarios, taking into account all variables related to the device, human factors and outside impacts. Works have to be responsive but not in the previously mentioned sense; in a way, they have to be attuned to the spirit of time as well as global trends (strategic, technical, creative and visual). In our post-industrial society digital products make the reality of global innovation scene. I sincerely hope that this trend is becoming our future as well.

tin kadoić: design and digital media / interaction design 65 Pregled Hrvatskog dizajna 1314

Modni i odjevni dizajn

Branka Donassy

Ovogodišnja selekcija radova iz područja modnog dizajna trebala bi pokazati najbolja ostvarenja već etabliranih autora kao i predstaviti nova imena zbog kojih bismo mogli vjerovati da u Hrvatskoj postoje snage koje mogu iznjedriti modne proizvode koji se, po dizajnerskim dosezima kao i profesionalnoj razini izvedbe, mogu nositi s visokim svjetskim standardima. Cjelovitu sliku ipak ne možemo imati s obzirom na mali broj pristiglih radova i izostajanje autora koji bi svakako mogli osna- žiti opći dojam. Očito je da većinu autora više privlači ‘živo’ predstavljanje, kao što su modne revije, od komornih izložbe- nih prezentacija koje su još k tome i selekcionirane.

Pozicija modnih dizajnera je danas kod nas vrlo osjetljiva i nestabilna s obzirom na uvjete u kojima stvaraju, kada se objek- tivno mogu uzdati samo u vlastite snage i snalažljivost u pre- življavanju. Sami moraju organizirati proizvodnju u situaciji nakon sustavnog uništenja domaće modno-tekstilne industrije i ostanka manjih i uglavnom nedostatno tehnički i stručno-ka- drovski opremljenih tvrtki, te samo nekolicine većih koje su orijentirane na lohn poslove i nisu zainteresirane za suradnju sa dizajnerima. Za to ima i objektivnih razloga, jer vlastiti dizajnerski proizvod zahtijeva velika rizična ulaganja koliko u samom procesu realizacije proizvoda, toliko i u plasmanu na tržišta na kojem vladaju stroga pravila igre i ogromna konkurencija. Domaće tržište je premalo, zatrpano jeftinim uvozom i potpuno neorganizirano u smislu planskih naručivanja kolekcija, po kojem principu funkcionira modna industrija u cijelom svijetu. Rijetki su domaći dizajneri koji uspijevaju održati proizvodnju i uz velike napore plasirati proizvode u inozemstvu. Sasvim je razumljivo i da najtalentiraniji i ambiciozniji mladi dizajneri odlaze u inozemstvo nadajući se pronaći sigurnije mjesto za profesionalni prosperitet.

Nalazeći se na vjetrometini ekonomske, kao i društvene krize, modni dizajneri se posljednjih godina nalaze u periodu ozbilj- nih iskušenja pri odabiru vlastitog puta. U prilično kaotičnom prostoru mnoštva modnih događanja, od onih visoke produkcijske kvalitete do onih nedopustivo niske, kao i u atmosferi sveopće estradizacije mode kada se svatko može zvati modnim dizajnerom i preko noći postati ‘slavan’, teško se odlučiti za ozbiljan rad i neprekidno učenje i usavršavanje. Nerijetko mladi dizajneri, zavedeni zamamnim instant uspjehom, ne primjećuju da u konačnici erodira svijest o potrebi osobnog umjetničkog i profesionalnog razvoja. Dok pojedini mediji znatno pridonose kvalitetnoj promociji domaćeg dizajna, neki pak koji uvelike sudjeluju u stvaranju slike o modnom dizajnu podilazeći pretpostavljenom ukusu široke publike i smatraju

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se pozvanima vrednovati dizajn prema vlastitim estetskim premisama. Produkti modnog dizajna su suptilno komunika- cijsko sredstvo koje zadire u psihološki i emocionalni prostor svakog pojedinca, koji je često izložen agresivnom utjecaju raznih interesnih subjekata koji koriste javne medije. Stoga bi mediji trebali biti svjesni svoje odgojne uloge i odgovornosti u promicanju vrijednosti s obzirom na moć i utjecaj koji imaju. Sagledavajući sveukupnu produkciju modnog dizajna u Hrvatskoj, primjetno je sve više usmjerenje dizajnera prema profiliranim grupama korisnika, sve češće povezivanje dizajnera u radu kao koautora, te stvaranje zajedničkih brendova. Specifičnost u području modnog dizajna je mnoštvo trendova kao i njihove izuzetno brze promjene nekoliko puta u godini. Stoga su danas više nego ikada važne snažne dizajnerske osobnosti koje mogu stvorili prepoznatljiv autorski rukopis i samosvojnost dizajnerskog izraza. Pri odabiru radova za ovu izložbu upravo su kao kriteriji bili važni posebnost autorskog izraza, inovativnost, istraživački pristup kao i kvaliteta izvedbe. Izuzetno malo pristiglih radova studenata ukazuje da je inače hvalevrijedna godišnja prezentacija studenata Modni ormar nedostatna za stjecanje prakse i svladavanje métiera, kao i na manjak zajedničkih istraživačkih projekata. Unatoč malom broju prijavljenih radova, ovogodišnja selekcija u dizajnu odjeće kao i u dizajnu accessoirea pokazuje visoke standarde u dizajnu i izvedbi i zato treba čestitati onima koji pokazuju sinergiju talenta, znanja i upornosti u održavanju visokih profesionalnih i etičkih principa, kako bi se sačuvao dignitet struke.

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Fashion and Clothing Design

Branka Donassy

This year’s selection of projects in fashion design intended to showcase the very best works designed by already established designers and also to present some new names which would lead us to a belief that there is a creative potential in Croatia able to create fashion products that can compete with very high global standards in terms of professionalism and design results. However, it is impossible to provide a comprehensive overview due to a very small number of applications and absence of the designers who could considerably improve the general impression. It is apparent that most designers are more attracted to the idea of ‘live’ presentation of their work on events such as fashion shows than showcasing at juried exhibitions.

The position of young designers in Croatia today is a very sensitive and unstable one regarding their working conditions, which mostly rely on their own strengths and abilities to survive. They have to organize production on their own in the times following systematic destruction of domestic fashion and textile industries and a survival of a smaller technically and professionally underequipped companies and only a few bigger ones oriented to ready-made production and not interested in collaborating with designers. There are some objective reasons for that having in mind that private design production demands a great deal of risky investments both in the production and placement on the market regulated by strict rules of the game and overwhelming competition. Our domestic market is too small, loaded with cheap imported products and entirely unorganized in terms of planned collection orders, which is the principle under which fashion industry functions worldwide. It is understandable that the most talented and ambitious young designers have to leave the country hoping to find a more secure place for their professional prosperity.

Exposed to the forces of the economic and social crisis over the past few years fashion designers are faced with a period of serious challenges when they make their career choices. In a rather chaotic space filled with many fashion events, from high to unacceptably low quality of production, and the atmosphere of general tendency to put fashion design in the spot of show business, when anyone can be called a fashion designer and become famous overnight, it is very hard to decide to work hard and continuously invest in education and vocational training. Very often young designer, mislead by the concept of instant success, fail to realize that this concept finally erodes the awareness about the need to develop professionally and artistically. And while the media significantly contributed to

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the quality promotion of domestic design, there is a part of it that largely participates in a creation of image of domestic design succumbing to presumptions about the broader public’s taste thinking that they can evaluate design according to their own fashion principles. Fashion design products are subtle means of communication entering private emotional and psychological space of every individual who is often exposed to aggressive influences of various interest groups using the public media. For these reasons, the media needs to become more aware of its educational role and the responsibility to propagate values especially because of the power and influence it has. The analysis of the entire fashion design production in Croatia clearly indicates that designers are becoming more and more oriented to profiled groups of costumers, collaboration with various subjects ad co-authors and creation of joint brands.

Fashion design is a very specific branch because of many trends and their extremely rapid transfiguration several times during a single year. This is the reason why today more than ever before we need powerful designer personalities able to create distinguishable design styles and independent design expressions. This year’s selection focused on the criteria such as specificities of designer expression, innovation, and research abilities as the quality of performance. A very small number of students who applied with their works is a sign that praiseworthy annual presentation of students at the so-called Modni ormar simply is not sufficient to get enough practice and learn the metier together with the lack of joint research projects. Despite of a small number of applications, this year’s selection for the fashion and accessories design category demonstrates high standards both in design and production and for that we need to congratulate those who show the synergy of talent, knowledge and persistence in maintaining the highest professional and ethical principles in order to safeguard dignity of the profession.

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Moje, tvoje, naše – Praktične utopije / Mine, Yours, Ours – Practical Utopias

studio _ured (Mario Aničić i Jele Dominis) dizajn / design Mario Aničić naručitelj / client Drugo more, Rijeka 10/2012

Plakat reflektira temu interdisciplinarnog The poster reflects the main subject of the in- festivala Moje, tvoje, naše u organizaciji Dru- terdisciplinary festival titled Mine, Yours, Ours gog mora u Rijeci 2012. godine, a formalno je in the organization of Drugo more in Rijeka in baziran na postupku kleksografije i letteringu 2012. Its is formally based on klecksography kistom i tušem. Kompozicijska cjelina plakata and lettering by a paintbrush and ink. The vizualno aludira na Rorschachov psihoanalitički composition of the poster is an allusion to test mrljama. Dojam analitičke mrlje pojačan Rorschach’s psychoanalytical test with inje sugestivnim oblikom zeca raširenih šapa kblots. The impression of analytical inkblots koji sjedi na zeleno-plavom planetu. Takvom has been further increased with a form sug- simboličkom slikom interpretira se osnovna gesting a rabbit with spread paws sitting on poruka festivala: Svaka nova društvena utopija green and blue planet. This symbolical image je proces koji sami upravljamo promišljanjem i interprets the main message of the festival: slobodnom voljom vodeći je tako prema željenom every new social utopia is a process we can mjestu. manage with our free thinking and free will, directing it towards the intended place.

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Komarci / Mosquitoes

agencija / agency Bruketa&Žinić OM art direkcija i ilustracija / art direction and illustration Nebojša Cvetković suradnica / contributor Martina Brnić (account assistant) naručitelj / client Teatar Exit 07/2013

Citylight oglas za Ljetne noći Teatra EXIT čiji se A city light ad for the so-called ‘Summer Nights’ vizual mijenja danju, odnosno noću. U dnev- organized by the EXIT Theatre in Zagreb with noj varijanti vidimo motiv brojnih komaraca, changing visuals for day and night time. Daily neizbježnih u ljetnim gradskim noćima, dok version demonstrates a swarm of mosquitoes, se noću vizual pretvara u ilustraciju Shakespe- inevitable companions of any summer night area, čiji se drame izvode u EXIT-ovom ljetnom in the city, whereas night version becomes an programu. illustration of William Shakespeare, whose plays are staged on the EXIT’s summer programme.

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Ansambl Lado / Lado Ensamble

agencija / agency Bruketa&Žinić OM kreativni direktor / creative director Miran Tomičić art direktor / art director Nebojša Cvetković copywriter Marko Matijašević suradnici / contributors Valentina Bugarin (account executive), Ivanka Mabić (account director), Radovan Radičević (dtp) naručitelj/client Ansambl narodnih plesova i pjesama Hrvatske LADO 11/2013

Serija plakata za godišnji koncert Ansambla A series of posters for the annual concert of narodnih plesova i pjesama Hrvatske Lado the Lado – Croatian Folk Dance and Song na temu zaštićene nematerijalne baštine Ensamble on the topic of Croatian protected Hrvatske. non-material cultural heritage.

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Mamograf vidi više nego oko / Mammogram sees more than the eye

agencija / agency Bruketa&Žinić OM kreativni direktor / creative director Ivan Čadež copywriter Drago Mlakar art direktor / art director Ana Belić suradnici Ivanka Mabić (account director), Ivana Drvar (account executive senior), Marko Ostrež, Radovan Radičević (dtp) naručitelj/client Udruga Sve za nju / Sve za nju Association 03/2013

U povodu Dana narcisa, humanitarne akci- On the occasion of the Day of Daffodils, a hu- je kojom se svake godine od prodaje narcisa manitarian action organized every year to raise prikupljaju sredstva za prevenciju i rano ot- funds by selling flowers for the prevention and krivanje raka dojke, lansirana je kampanja s early detection of breast cancer, there was a ciljem povećanja svijesti o važnosti redovitih campaign launched to raise awareness about pregleda dojki. Korišten je medij citylight pla- the importance of regular check-ups. The cam- kata koji se mijenja paljenjem noćne rasvjete. paign used city light posters with changing visuals in the night-time.

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GDK Gavella / The Gavella Drama Theatre

studio Studio Cuculić dizajn / design Vanja Cuculić naručitelj / client GDK Gavella 05/2013

Serija plakata za kazalište Gavella kroz ujed- A series of posters for the Gavella theatre used načenu idejnu matricu i sustavan grafički je- a harmonized matrix and systematic graphic zik gradi identitet kazališta već devet sezona. language to develop the theatre’s visual iden- Iako je naglasak na seriji, plakati pojedinačno tity for more than nine seasons. Although the snažno, aktualno i britko korespondiraju s accent is put on the series, each individual dramskim predloškom. poster uses powerful, contemporary and sharp discourse that corresponds with the drama- tization.

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Kinoklub Zagreb / Cinema Club Zagreb

dizajn / design Dario Dević suautorica plakata 'Lude kuje' / co-author of the ‘Lude kuje’ poster Iva Maria Jurić naručitelj / client Kinoklub Zagreb 05/2014

Niz mini-plakata nastalih u volonterskoj su- A series of mini-posters created in a voluntary radnji s Kinoklubom Zagreb, koji sve svoje collaboration with the Cinema Club Zagreb projekcije, filmske cikluse, radionice i ostali organizing shows, film cycles, workshops and program organizira potpuno neprofitno, otvo- other programmes, all free of charge and open reno za sve, i s neizmjernim entuzijazmom to everyone, with a lot of enthusiasm for am- prema amaterskom filmu i filmskoj edukaciji. ateur film and film education.

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Živa muzika

dizajn / design Dario Dević, Hrvoje Živčić naručitelj / client Živa muzika, Zagreb 05/2014

Niz plakata nastalih kroz dugotrajnu suradnju A series of posters created during a long-term sa Živom muzikom, trenutno jednim od naj- collaboration with the Živa muzika, presently uzbudljivijih koncertnih promotora. Budući one of the most exciting concert promoters. su koncerti najčešće organizirani s malim ili Since concerts are mostly organized with low nikakvim budžetom, tiskana promocija uglav- or no budget, the printed promotion materi- nom se svodi na pedesetak printanih plakata als mainly come down to about fifty printed A3 formata. Ta ograničavajuća okolnost uzeta A3 posters. This limiting factor is taken as an je kao prednost, pa je za nastup Molly Nilsson advantage and for the Molly Nilsson’s concert napravljeno deset potpuno različitih vizuala ten entirely different visuals were designed koji su na samom koncertu izloženi kao svo- and showcased on the concert as a kind of pop- jevrsna pop-up izložba; za koncert Trusta je up exhibition. For the Trust concert 51 post- jednostavnim programiranjem napravljen 51 ers were designed with simple programming. plakat, svaki malo različit od drugih; a za go- Each of the 51 posters was a bit different from stovanje Mykki Blanco pažljivo su iscrtane sve the rest. For Mykki Blanco’s performance de- vidljive tetovaže s tijela tog genderqueer repera. signers decided to carefully draw all tattoos visible on the gender-queer rapper’s body.

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Mjesec hrvatske knjige / Croatian Book Month

studio Đukićpavlović dizajn / design Zoran Đukić, Jan Pavlović naručitelj / client Knjižnice Grada Zagreba / Zagreb City Libraries 10/2013

Mjesec hrvatske knjige godišnja je manifestaci- The Croatian Book Month is an annual event ja Knjižnica Grada Zagreba čiji je cilj podizanje organized by the Zagreb City Libraries with svijesti o knjigama i kulture čitanja općenito. the aim to raise awareness about books and Polazište za oblikovanje plakata bio je knjiški reading culture in general. Starting point for crv koji predstavlja strastvenog ‘čitača’ knjiga designing the poster was a book warm as a ali i reciklažnog majstora. Pri svakom tisku symbol for a passionate ‘reader’ but also a re- knjige 500 araka probnih otisaka baci se u cycling master. For printing of a single book smeće. 2000 takvih probnih otisaka prošle some 500 sheets of paper are used for match godine nije otišlo u smeće već je reciklirano prints, which are then simply thrown away. ovim projektom. Plakati Mjeseca hrvatske knji- Last year, 2000 match prints were recycled ge tiskani su na makulaturama knjiga koje su in the scope of this project. Posters for the se tad trenutno izdavale, dvobojnim tiskom Croatian Book Month were printed on book preko već otisnutih probnih araka. maculatures with two-colour print on ready- made match prints.

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Aleksandra Zec

dizajn / design Damir Gamulin naručitelj / client HKD teatar, Rijeka 04/2014

Plakat za kazališnu predstavu o tragičnoj The intention behind the poster for the the- sudbini 14-godišnje zagrebačke učenice Alek- atre play dealing with the tragic destiny of the sandre Zec želi podsjetiti i na ovu podpriču 14 year old Zagreb student Aleksandra Zec is stvaranja hrvatske državnosti početkom 90-ih to serve as a reminder of this story of the cre- godina. Paralelne forme ‘životne’ (školske) i ation of Croatian statehood in the early 1990s. ‘smrtne’(novinske) dokumentacije upotreblje- Parallel forms of the ‘life’ (school) and ‘death’ ne su za konstruiranje osnovnog hrvatskog (newspaper) documentation were used for državnog vizuala – zastave. the construction of the fundamental Croatian state visual – the flag.

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Gospođa ministarka / The Lady Minister

dizajn / design Damir Gamulin naručitelj / client Satiričko kazalište Kerempuh/ Kerempuh Satirical Theatre, Zagreb 10/2012

Predstava Gospođa ministarka (u režiji Olivera The play Madam Minister (directed by Oliver Frljića) u zagrebačkom je kazalištu Kerempuh Frljić) in the Zagreb Kerempuh theatre was izvođena na izvornom, srpskom jeziku. Diza- performed in the original Serbian language. jnersko rješenje stoga se oslanja na različitost, The design solution, therefore, relies on the odnosno sličnost hrvatskog i srpskog jezika te difference and similarity between the Croa- se zasniva na grafizmu korektorskih ispravki tian and Serbian language and is based on the i uputa. graphism of a proof-reader’s corrections and instructions.

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Istovremeno drugi / The Other at the Same Time

dizajn / design Tina Ivezić ilustracija / illustration Juan Echeverri naručitelj / client Emanat, Ljubljana; Istarsko narodno kazalište / Istrian National Theatre, Pula 10/2012

Plakat za predstavu Istovremeno drugi Matije A poster for the play titled The Other at the Same Ferlina sadrži cjelokupan dramski tekst Jasne Time directed by Matija Ferlin contains the en- Žmak preko kojeg je na tiskovni arak koji čini tire text written by Jasna Žmak with a printed stranice programske knjižice obostrano oti- illustration on both sides of the programme snuta ilustracija. booklet made of printing sheets.

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4. dani nove glazbe / The 4th Days of the New Music dizajn / design Karlo Kazinoti naručitelj / client Udruga MAG / MAG Association, Split 10/2012

Niz onomatopejskih izraza i riječi na plakatu A series of onomatopoeic words and phrases čini novo suvremeno glazbeno djelo koje svaki printed on a poster make a new contemporary promatrač može izvesti čitajući informacije music piece that every observer can perform na glas ili u sebi. Jednostavnim presavijanjem by reading information out loud or silently. plakat postaje programska brošura festivala. The poster can be easily bent to turn into the festival programme brochure.

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5. dani nove glazbe / The 5th Days of the New Music dizajn / design Karlo Kazinoti naručitelj / client Udruga MAG / MAG Association, Split 10/2013

Plakat je baziran na osnovnoj tipografiji iden- The poster is constructed on the basic typog- titeta koji prikazuje nekoliko klasičnih glazbe- raphy of identity revealing several musical nih ljestvica unutar kojih je integriran naziv fe- scores that integrate the name of the festival. stivala, čime su neke ljestvice dobile potpuno Some scores got entirely new tones close to nove tonove bliske suvremenoj ozbiljnoj glazbi. contemporary classical music. The poster can Presavijanjem plakat postaje programska bro- be easily bent to become the festival’s pro- šura festivala. gramme brochure.

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7. festival mediteranskog filma Split / 7th Mediterranean Film Festival Split

dizajn / design Karlo Kazinoti naručitelj / client Festival mediteranskog filma Split / Mediterranean Film Festival Split 05/2014

Festival mediteranskog filma Split je u sedam In the period of seven years the Mediterranean godina svog djelovanje postao značajna kul- Film Festival in Split has become an import- turna manifestacija, a zbog termina održava- ant cultural event and its timing is a sort of a nja i svojevrsni je orijentir otvaranja sezone pointer to the opening of the swimming and kupanja i sunčanja. Stoga plakat duhovito sunbathing season. Following that, the post- upozorava na štetnost sunčevog zračenja. er quick-wittedly warns about the negative effects of exposure to UV radiation.

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Daloro

studio Ko:ke kreativna farma kreativni direktor, art direktor / creative director, art director Maja Bagić Barić Suradnik Mirko Rastić (ilustracija / illustration) naručitelj / client Tvornica kruha Zadar / Bread Factory Zadar 01/2014

Vizualna igra postignuta slaganjem pekarskih An eye trick created by setting various bakery proizvoda u oblike morskih bića komunicira products into forms found in the sea commu- brend Daloro kao idealnu dalmatinsku pekaru nicating the message about the Daloro brand gdje se spajaju mirisi kruha i mora. as the ideal Dalmatian bakery where scents of sea and bread combine.

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13. festival europske kratke priče / The 13th European Short Story Festival studio Ko:ke kreativna farma kreativni direktor / creative director Maja Bagić Barić suradnik Danijel Srdarev (ilustracija / illustration) naručitelj / client Hrvatsko društvo pisaca / Croatian Writers’ Society 05/2014

Festival europske kratke priče najstariji je eu- The 13th European Short Story Festival is the ropski festival posvećen kratkoj formi priče. oldest festival dedicated to short forms of Koncept festivala svake godine podrazumijeva writing. Every year the concept of the Festival i zemlju partnera, a upravo ona je već niz godi- implies a different partner country being also na osnovna tema na koju se oslanja i vizualni the main theme of the Festival’s visual identity. identitet festivala. U 13. izdanju FEKP-a zemlja The partner country of the 13th edition of the partner bio je Brazil. European Short Story Festival was Brazil.

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Apatija / Apathy

dizajn / design Igor Kuduz naručitelj / client Galerija Klovićevi dvori / Klovićevi dvori Gallery, Zagreb 12/2013

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Kako bi se što jasnije vizualizirala tema apa- In order to clearly visualize apathy and im- tije i besciljnosti, s plakata je izostavljen sav passivity as the main theme, the poster did fotografski i drugi informacijski sadržaj, a not use any photographs or other informative zadržani su samo naslov i datum održavanja materials only keeping the title and date of izložbe. Smjer čitanja plakata je silazan, a na- the exhibition opening. Reading direction is slov počinje i završava u jednoj točki, slovu A, downward and the title begins and ends in aludirajući na ‘stajanje u mjestu’. a single point, the letter A, as an allusion to ‘remaining in one place’.

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16. Škola medijske kulture / 16th School of media culture dizajn / design Igor Kuduz naručitelj / client Hrvatski filmski savez / Croatian Film Association 05/2014

16. 16.

ŠKOLA

KOŠĆAN KOŠĆAN KOŠĆAN MEDIJ-MEDIJ-KOŠĆAN

LIĆ TRA- TRA- TRA- TRA- TRA- TRA- TRA- TRA- TRA- TRA- LIĆ LIĆ LIĆ LIĆ LIĆ LIĆ LIĆ LIĆ LIĆ LIĆ SKESKE KUL-TRA- LIĆ KUL-

PETER- PETER- PETER- PETER- PETER- PETER- TUREPETER- TURE DR. DR.

ANTEANTE www.hfs.hr/[email protected] PETERLIĆPETER- LIĆ TRAK-TRAKO- OŠĆANŠĆAN 20.– 20. –

hrvatski ﬁ lmski 30.8. 30. 8. savez 2014.

dizajn : D72 – igor kuduz

16_SMK_B1.indd 1 4/29/14 8:42 AM

Plakati za Školu medijske kulture funkcionira- Posters for the School of Media Culture func- ju kao serija za koju se svake godine deriviraju tion as a series for which various solutions are različita rješenja. Osnovni elementi plakata su derived every year. The main elements of the boje grafičke CMYK skale i tipografija. Tipograf- poster are colours from the CMYK graphic scale skom kompozicijom i dvosmjernim čitanjem and typography. Typographic composition plakata želi se naglasiti pokret, te oni asociraju and two-way direction for reading the poster na filmske titlove, odnosno nizove filmskih intends to underline the movement and incite sličica. Korištenjem boje i transparencija u film titles or sequences of motion pictures. tekstu stvara se šum u čitanju koji podsjeća i The use of colours and transparencies in the na estetiku RGB video slike. text create a kind of noise in reading reminding of the RGB video image aesthetics.

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Klasični Rim na tlu Hrvatske / Classical Rome on Croatian Soil

dizajn / design Igor Kuduz naručitelj / client Galerija Klovićevi dvori / Klovićevi dvori Gallery, Zagreb 03/2014

Serija od tri plakata prikazuje jedan od naj- A series of posters showcases one of the most značajnijih izložaka s istoimene izložbe iz tri important exhibits from the corresponding rakursa, poput storyboarda, dočaravajući doživ- exhibiton from three different points of view, ljaj skulpture u stvarnom prostoru. Naglasak like a storyboard, evoking the experience of je na fotografiji, dok je tipografija, suvremena sculpture in real space. The accent is put on inačica rimske kapitale, korištena kao potpis. photography and typography (contemporay version od roman capitals) is used as a signature.

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Kazalište slijepih i slabovidnih Novi život / The Novi život Theatre of the Blind and Visually Impaired

studio Kuna Zlatica dizajn / design Ana Kunej, Zlatka Salopek naručitelj / client Kazalište slijepih i slabovidnih Novi život 06/2012

Serija kazališnih plakata nastala je u uskoj su- A series of theatre posters designed in close radnji s Kazalištem i uvijek u obzir uzima to cooperation with the Theatre always taking da su velik dio publike i gotovo svi koji sudje- into account that a large part of the audience luju u nastanku predstava zakinuti za ključno as well as everyone involved in the creation of osjetilo za doživljaj plakata – vid. Stoga svi the play actually do not have the opportunity plakati imaju taktilnu komponentu postignu- to use of the senses necessary to experience a tu odabirom papira (upojni papir) i tiskarske poster- the eyesight. For this reason, all post- tehnike (fluorescentne ili osnovne boje), a pri ers have a tactile component reached in the se- oblikovanju se vodilo računa o visokoj kon- lection of paper and printing press technique trastnosti grafičkih elemenata, te o njihovoj (fluorescent or basic colours). Special care was jednostavnosti. Iznimka je plakat za 8.BIT koji given to highly contrasted graphical elements. je namjerno napravljen teško čitljivim jer se The only exception is the poster for the 8th BIT obraća publici koja vidi sugerirajući iskustvo Festival which was purposely designed to be slijepih i slabovidnih osoba. hardly legible because it communicates to the seeing audience suggesting the experience of the blind and partially sighted persons.

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Vintage Industrial Bar

studio Kuna Zlatica dizajn / design Ana Kunej, Zlatka Salopek naručitelj / client Vintage Industrial Bar, Zagreb 09/2012

Izazov je bio postići vidljivost na prepunjenim The main challenge was to obtain visibility on plakatnim površinama i dati snažan identitet overloaded poster boards and create a strong rock klubu izvan uvriježenih gabarita. Dizaj- identity for the rock club outreaching the nerice su posegnule za kolažiranjem, uvijek na usual propositions. Designers decided to use neki način vezanim za bendove koji nastupaju collage technique always in some way related pojedini mjesec, i uvijek koristeći vintage fo- to the bands performing in a particular month tografiju otkrivenu na nekom tavanu ili inter- and combine vintage photographs found on netskom deponiju. the attic or an internet depot.

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SoundART – BIOart

dizajn / design Ana Labudović naručitelj / client Tehnički muzej / Technical Museum, Zagreb 05/2013

Multifunkcionalni letak koji rastvaranjem i A multifunctional leaflet that can be unfold- nizanjem služi i kao plakat. Prvi dio naklade se ed and used as a poster. The first edition was tiskao u jednom slijedu boja polukrugova (zele- printed in a single sequence of colours used na – crna), a drugi u obrnutom (crna – zelena), for semicircles (green – black), and the second tako da plakati postavljeni jedan do drugoga one in a reverse sequence of colours (black ocrtavaju puni krug. – green) so that posters, if put one next to another, form a full circle.

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Ame #7

dizajn / design Oleg Morović suradnik / contributor Adi Franković naručitelj / client Galerija Cvajner / Cvajner Gallery, Pula 03/2014

Istraživanje crtačkih i tiskarskih tehnika pove- Exploration of drawing and printing tech- zano je s eksperimentalnim aspektom samog niques is related to the experimental aspect of projekta Ame koji spaja likovnu umjetnost i the Ame project relating visual arts and music glazbu, rezultirajući neuobičajenim i izuzetno and resulting in an unusual yet excellent form kvalitetnim tipom zabave u kojoj se objedinju- of entertainment combining the unconven- ju nekonvencionalno i tradicionalno. Plakat za tional and the traditional. The poster for the 7. Ame otisnut je tehnikom sitotiska bijelom 7th Ame was made in serigraph printing using bojom na natron papiru. Motiv je ispisan di- white colour on natron paper. The motif was rektno na filmu kistom i tušem, zaobilazeći painted directly on the film with a brush and digitalnu obradu, a tekstualne informacije po- ink, ignoring digital finishing, and all text in- novljene su u čišćoj formi pisaćom mašinom formation was repeated in a purer form with na paus papiru. the use of a typewriter on tracing paper.

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Komba

dizajn / design Luka Reicher, Mihovil Vargović naručitelj / client Kinoklub Zagreb / Cinema Club Zagreb 07/2012

Komba, skraćeno od kombinacija, ulični je izraz Komba (in Croatian, slang for ‘combination’) za dogovor između više osoba koje žele nešto implies an agreement between several per- zajedno nabaviti, najčešće ilegalno. Rastav- sons wishing to purchase something that is ljanjem centralnog slova M naslova filma na often illegal. The central letter M has been tak- suprotstavljene brojke 1 spojene znakom plusa en apart to make two mirroring number-ones interpretirana je proračunatost glavnih likova joined with a plus sign to interpret Machia- u filmu. Motivom traga mokraće na zidu odaje vellian main characters of the film. The mo- se, osim ključnog trenutka filma, nezainteresi- tif of urine trace on the wall reveals the most ranost, efemernost i međusobno nepoštivanje. important moment in the film but also lack Povodom Dana hrvatskog filma provedena je of interest, ephemerality and lack of mutual gerilska akcija, posjetitelji su naljepnicama po- respect. On the occasion of the Croatian Film zivani na tajanstvenu kombu u kinodvorani u Days there was a guerrilla action organized: vrijeme projekcije filma. guests were invited to a mysterious komba inside the theatre hall during the film projection.

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Zimica / Chill

dizajn / design Luka Reicher, Mihovil Vargović naručitelj / client ADU / Academy of Dramatic Art, Zagreb 09/2012

Plakat za kratkometražni film Hane Jušić. The poster for the short film directed by Hana Plakat tonom i bojom prenosi ugođaj filma Jušić. The tone and choice of colours on the koji bogatom fotografijom i scenografijom poster communicate the atmosphere of the kontrastira hladnim emocijama protagonista. film in which abundant photography and Staklenka, predmet koji bi trebao služiti dugo- scenography contrast the protagonists’ cold trajnom očuvanju stvari, otužno sadrži samo emotions. A jar is an object used for long-term jedan ukiseljeni krastavac, odnosno ono što preservation of food yet here it sadly contains je ostalo od nekad bogatog ljubavnog odnosa a single pickle, which is a metaphor for the glavnih likova. Gledamo neuspješan pokušaj used-to-be grand love life that the main char- očuvanja starih uspomena koji propada. acters used to have. Thus, we can observe an unsuccessful attempt to preserve the old memories.

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Brzo okidanje / Snapshot

studio Sensus Design Factory kreativna i art direkcija, dizajn / creative and art direction, design Nedjeljko Špoljar dizajnerica / designer Kristina Špoljar naručitelj / client Galerija Klovićevi dvori / Klovićevi dvori Gallery, Zagreb 06/2012

Serija fotografskih izložbi Snapshot održava A series of photo exhibitions – Snapshot – takes se u prostorima Kule Lotrščak i Galerije Klovi- place at the premises of the Lotrščak Tower ćevi dvori u Zagrebu i redovito ugošćuje neka and the Klovićevi Dvori Gallery in Zagreb and od renomiranih imena hrvatske i inozemne regularly hosts some of the most renowned umjetničke scene, kao i mlađe, manje afirmi- artist from Croatia and abroad as well as young rane autore. Studio oblikuje vizualni identitet artists. Studio has been creating visual iden- Snapshota od samog početka, a svakih nekoli- tity of the Snapshot from its very beginning ko godina on se osvježava i mijenja. Plakati se with modifications and renewals introduced izrađuju u digitalnom tisku u manjim naklada- every few years. Posters are digitally printed ma, što omogućuje produkciju više različitih in smaller editions allowing for production of varijanti uz dosljedno poštivanje osnovnih several versions and steadfast loyalty to the elemenata identiteta serije. main elements of the series.

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Prvo okidanje / First Shot

Izložbeni ciklus Prvo okidanje otvoren je isklju- The First Shot exhibition cycle is open exclu- čivo mladim i neafirmiranim fotografima, pru- sively to the young and non-affirmed photogra- žajući im mogućnost prve samostalne izložbe. phers, providing them with an opportunity to Za svakog autora oblikuju se posebne varijante exhibit individually for the first time. Special plakata markiranih brojevima koji odgovaraju versions of posters are created for every artist poziciji izložbe unutar prostora galerije. Plaka- and marked with numbers corresponding to ti koriste slikovni materijal autora, što im daje the exhibition position inside the gallery. Post- likovno bitno različite karaktere. Upravo zbog ers use materials created by the artists which toga posebna je pažnja posvećena dosljednom provides them with significantly different apliciranju identiteta ciklusa koji različite vari- characters. For this reason, special attention jante čvrsto spaja u kohezivnu cjelinu. has been given to constant application of the identity which firmly connects all different versions in a cohesive unit.

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BOOKtiga 2013. – međunarodni festival pročitanih knjiga / The BOOKtiga 2013 – The International Festival of Used Books

studio Sonda kreativni direktori / creative directors Jelena Šimunović, Anselmo Tumpić, Sean Poropat dizajneri / designers Tina Erman, Zvjezdana Vukić, Aleksandar Živanov administracijska i tehnička podrška / administrative and technical support Irena Kotiga naručitelj / client Gradska knjižnica Poreč / Poreč City Library 04/2013

Tema Festivala Knjiga otkriva ono što stvarnost The theme of the Festival – A book reveals what skriva inspiracija je za rješenje plakata koji gra- the present hides – inspired the poster design fički i načinom apliciranja evocira ‘zavrnuto whose graphics and manner of application uho’ na knjizi. Postavljanjem oglasne površine symbolize ‘twisted ear’ on a page. In the upper u gornji desni kut, poput ‘uha’ na kakvoj go- right corner of the poster we can see an adver- lemoj knjizi, plakat zapravo prisvaja vlastitu tisement and in this way the poster actually okolinu. Ovim rješenjem ostvarena je i ušteda overtakes its own environment. The outcome u oglašavanju festivala – umjesto na cijelu ogla- of this approach resulted in money saved on snu površinu, svega je jedan plakat lijepljen advertising. Instead of using the entire ad- u njen desni ugao. Tako je festival i oglašava- vertising space only a single poster had to be njem poručio važnost korištenja rabljenog: već glued on its right corner. Thus, the advertising iskorištene oglasne površine i njihovu okolinu segment of the Festival also had a message preuzeo je kao dio vlastite komunikacije. about the importance of recycling: already used advertising space and its surrounding became part of communication.

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BOOKtiga 2014. – međunarodni festival pročitanih knjiga / The BOOKtiga 2014 – The International Festival of Used Books

studio Sonda kreativni direktori / creative directors Jelena Šimunović, Anselmo Tumpić, Sean Poropat dizajneri / designers Tina Erman, Zvjezdana Vukić, Aleksandar Živanov, Martina Sirotić, Davorka Tumpić administracijska i tehnička podrška / administrative and technical support Irena Kotiga naručitelj / client Gradska knjižnica Poreč / Poreč City Library 05/2014

Komunikacija za Festival rabljenih knjiga The communication for the Festival of Used BOOKtiga nastavlja tražiti odgovor na pita- Books continues its quest with the intention nje kako formu plakata iskoristiti na način to answer the question how to use the form da snagu crpi iz svoga okruženja i, u skladu s of a poster to obtain the strength from its tematikom promoviranja iskorištavanja rablje- surrounding and, in line with the promotion nog, koristi sve ono što se nalazi oko plakata. of recycling, use everything around the post- Moto festivala 2014. je bio Čitatelj u središtu te er. The 2014 Festival’s motto was Readers are su promotivni plakati postavljeni poput ozna- Central and posters were put up in the form čivača stranica, čime zapravo sve ono što se of bookmarkers. In this way everything that nalazi oko njih na oglasnoj površini postaje surrounds them becomes an open book for otvorena knjiga koju čitamo. us to read.

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Casanova Festival 2013

studio Sonda kreativni direktori / creative directors Jelena Šimunović, Anselmo Tumpić, Sean Poropat ilustracija / illustration Aleksandar Živanov dizajn / design Tina Erman, Zvjezdana Vukić administracijska i tehnička podrška / administrative and technical support Irena Kotiga naručitelj / client Casanova, Pula 05/2013

Festival ljubavi i erotike Casanova fest održava The Casanova Festival of Love and Erotica se u šarmantnomm istarskom ribarskom gra- takes place in Vrsar, a charming Istrian fish- diću Vrsaru. Kako mjesto značajno određuje ermen’s village. Since the venue considerably atmosferu festivala, rješenja plakata za ovaj determines the atmosphere at the Festival, festival uvijek su spoj motiva karakterističnih poster design is always a combination of mo- za Vrsar, ali i igra s dvosmislenostima koju po- tives characteristic for Vrsar and the interplay vezujemo s igrom zavođenja. between ambiguities associated with seduc- tion.

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Casanova Festival 2014

studio Sonda kreativni direktori / creative directors Jelena Šimunović, Anselmo Tumpić, Sean Poropat ilustracija / illustration Aleksandar Živanov, dizajn / design Tina Erman, Martina Sirotić, Davorka Tumpić, Zvjezdana Vukić, Aleksandar Živanov administracijska i tehnička podrška / administrative and technical support Irena Kotiga naručitelj / client Casanova, Pula 05/2014

Inspiracija za ovaj plakat sam je Casanova koji This poster is inspired by Casanova who was je, vodeći se svojim kormilom, dolazio u Vrsar following his helm, often visiting Vrsar in pur- u nova osvajanja. Odabir motiva kormila ve- suit of new love quests. The choice of the mo- zan je s novitetom u ponudi festivala – večer- tive is also related to a novelty in the Festival’s njom zabavom na brodu koji plovi akvatorijem offer, i.e. evening entertainment programme Vrsara. Obzirom da festival ljubav i erotiku on the ship sailing in the Vrsar waters. Hav- tematizira na čuvstven, a ne eksplicitan na- ing in mind that love and eroticism are subtle čin, cilj plakata je odražavati dvosmislenost i rather than explicit topics of the Festival, the zaigranost karakteristične za zaljubljenost i goal was to transpose this ambiguity and play- osvajanje, no istodobno napraviti odmak od fulness characteristic for being in love and mogućih aluzija na pornografiju. questing after love at the same time avoiding all allusion to pornography.

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Aida

studio Šesnić&Turković dizajn / design Marko Šesnić, Goran Turković naručitelj / client HNK / Croatian National Theatre, Zagreb 12/2013

Predstava Aida napravljena je u koprodukciji The opera was staged as a co-production be- zagrebačkog i riječkog HNK. Ikonografija Egip- tween the Croatian National Theatres in Ri- ta gotovo je potpuno izbjegnuta i u scenografiji jeka and Zagreb. Egyptian iconography has i u kostimima. Plakat je, prateći redateljsku been almost completely avoided both in stage koncepciju, moderna interpretacija egipatskih and costume design. Following the director’s hijeroglifa. Radnja predstave ispričana je kroz concept, the poster was designed as a modern četiri slovna znaka – hijeroglifa. reinterpretation of the Egyptian hieroglyphs. The plot is retold in four basic characters or hieroglyphs.

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Ciguli miguli

studio Šesnić&Turković dizajn / design Marko Šesnić, Goran Turković naručitelj / client Hrvatski državni arhiv – Kinoteka / Croatian State Archives – Cinematheque, Zagreb 10/2012

Hrvatska kinoteka 2012. godine obilježila je In 2012 the Croatian Cinematheque celebrated Svjetski dan audiovizualne baštine projekci- the World Day for Audiovisual Heritage with jom nekoliko zabranjenih filmova iz hrvatske the projection of several prohibited films from povijesti. Vrhunac programa bio je filmCiguli the Croatian history. The pinnacle of the pro- Miguli kojeg je komunistička vlast 1952. godine gramme was the projection of the film titled cenzurirala. Glavni vizual plakata je poznati na- Ciguli Miguli, which was censored in 1952 by slov filma ‘cenzuriran’ crvenom petokrakom. the communist government. The main visual element on the poster is this well know film title ‘censored’ with a red star.

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Cirkus / Circus

studio Šesnić&Turković art direktori / art directors Marko Šesnić, Goran Turković dizajnerice / designers Elizabeta Novaković, Andrea Sužnjević naručitelj / client Gliptoteka HAZU / HAZU Glyptotheque, Zagreb 04/2014

Cirkus je kiparska izložba Nikole Vrljića, a kako Circus is an exhibition of statues by Nikola se radovi s izložbe uvijek nameću kao logičan Vrljić, and since artwork showcased on an ex- izbor za glavni vizual, umijeće je integrirati hibition always stands out as a logical choice informacije o izložbi u dizajn. Srećom je Nikola for the main visual, it is a matter of craft to Vrljić izložbi dao takvo duhovito i nepretenci- integrate information on the exhibition into ozno ime i dizajnerima olakšao posao. the design. Luckily, Nikola Vrljić gave this witty and unpretentious name to the exhibition making it much easier for designers to do their work.

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Dubrovačke ljetne igre / The Dubrovnik Summer Festival

studio Šesnić&Turković dizajn / design Marko Šesnić, Goran Turković copywriter Maro Pitarević naručitelj / client Dubrovačke ljetne igre 06/2013

Jedna od najjačih asocijacija na Dubrovnik su One of the most frequently associated land- njegove zidine. Dizajn se oslanja na tu općepo- marks of Dubrovnik are its old walls. This znatu sliku i nadograđuje se sloganom Heart widely known image was used as a starting of Art. Vizualna sličnost srca i tlocrta grada point of design and further upgraded with izgleda banalno jednostavno i upravo zato na the slogan: Heart of Art. Visual resemblance najbolji način pojačava paralelu između arhi- between the shape of a heart and the city’s tekture grada i anatomije živog organizma koji ground plan seems banal and simple which živi i slavi umjetnost. is exactly the reason why it accentuates the parallel between the city’s architecture and the anatomy of a live organism breathing and celebrating art.

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Šuti / Hush

studio Šesnić&Turković dizajn / design Marko Šesnić, Goran Turković naručitelj / client Kinorama, Zagreb 11/2013

Šuti je dugometražni igrani film redatelja Lu- Šuti (Hush) is a feature film directed by Lukas kasa Nole. Film prati odrastanje djevojčice koju Nola. The film is a story about the childhood seksualno i psihički zlostavljaju svi njoj bliski of a girl who is being sexually and mentally muškarci. abused by all men close to her.

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Kako je Dunda spasila domovinu / How Dunda Managed to Save Her Country

dizajn / design Oleg Šuran suradnik / contributor Oleg Morović naručitelj / client Istarsko narodno kazalište / Istrian National Theatre, Pula 10/2012

Plakat za kazališnu predstavu Kako je Dunda A poster for the play titled How Dunda Man- spasila domovinu. Za vrijeme francusko-pru- aged to Saved Her Country. During the Fren- skog rata šaroliko društvo kočijom bježi iz co-Prussian War a mixed company of people francuskog grada Rouena. Dramu je napisao runs away from the French city of Rouen in Slobodan Šnajder, a zasnovana je na pripovjetci a carriage. The play was written by Slobodan Boule de Suif Guya de Maupassanta. U predstavi Šnajder, and it is based on a short story titled se elementima komedije i satire ispituju odno- Boule de Suif by Guy de Maupassant. The play si društvenih uloga, staleža i politike. Drugim uses elements of comedy and satire to ques- riječima, uloge u dihotomiji mi/oni se konstan- tion the relations between various social roles, tno izmjenjuju. classes and politics. In other words, the roles are in a constant dichotomy between us and them.

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Grando

dizajn / design Ivor Tomljanović naručitelj / client Pierre Vally teatar / Pierre Vally Theatre, Zagreb 08/2013

Grando – legenda o istarskom vampiru je pred- Grando – A Legend About the Istrian Vampire is a stava o Juri Grandu, istarskom seljaku iz 17. st. play about Jure Grando, a peasant from Istria koji je nakon smrti ustao iz groba kao vampir. from the 17st century who rose from the dead Predstava je temeljena na istarskim legen- as a vampire. The play is based on Istrian leg- dama i običajima, starim pričama, mitskim ends and customs, ancient stories, mythical i fantastičnim bićima i praznovjerjima, kao and phantasy creatures and superstitions as i njihovim utjecajem na današnjeg čovjeka. well as its influence on a modern man. The Glavni vizual je fotografija glavnog glumca u main visual is a photo of the main actor re- rekonstruiranom tipičnom kadru iz predsta- constructed in a typical scene from the play ve, zajedno sa svim rekvizitima korištenim u together with all props used in the play. predstavi.

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Ekstrakt

dizajn / design Goran Zmaić suradnici / contributors Tino Turk, Hrvoje Franjić (fotografije / photographs) naručitelj / client Ekstrakt 03/2014

Koncept vizuala temelji se na naglašavanju The concept for the visual is based on the ac- eskapističke naravi elektroničke glazbe. Za centuation of the escapist nature of electronic svaki pojedini plakat napravljen je set koji je music. A set has been created for each individ- inspiriran posebnostima izvođača i glazbe koju ual poster inspired by specific characters of izvodi. every performer and the music he or she plays.

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Doviđenja u SC-u / Farewell at the Students’ Center

ilustracija / illustration Dario Dević, Hrvoje Živčić naručitelj / client Blok – lokalna baza za osvježavanje kulture / Local Base for Culture and Refreshment, Zarez, Zagreb 03/2014

Temat objavljen u Zarezu #380 bavi se postu- A topical edition of Zarez #380 deals with grad- pnim prodiranjem privatnih i komercijalnih ual penetration of private and commercial in- interesa u prostor Studentskog centra u Sav- terests into the space of the Student Center skoj 25. Problem je ilustriran fotokolažima mo- on 25 Savska St. The problem is illustrated in guće budućnosti tog prostora. Svaka ilustracija several photo collages presenting possible fu- ima i popratnu GIF animaciju koje su korištene ture solutions for the space in question. Every za web-promociju temata. illustration is followed by a GIF animation used for online promotion.

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Betnem se vraća kući / Betnem Returns Home

ilustracija / illustration Vedran Klemens naručitelj / client Vizkultura 04/2013

Ilustracija je dio autorove samoinicirane se- The illustration is a part of the designer’s rije ilustracija koje reinterpretiraju likove iz self-initiated series of illustrations that rein- pop kulture i smještaju ih izvan uobičajenog terpret pop culture characters placing them konteksta. Iskorištena je za promociju web outside of the usual context. It was used for portala Vizkultura prilikom lansiranja njihovog promotion on the Vizkultura web portal on projekta Plakatiranje. the occasion of the launching of their project titled Plakatiranje (Putting up posters).

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Back(a)ward

ilustracija / illustration Davor Pavelić suradnici / contributors Heather Hopp-Bruce (art direkcija / art direction) naručitelj / client The Boston Globe 08/2013

Ilustracija za satirični članak o prijedlogu do- An illustration for a satirical article about the djele nagrada svima koji su u protekloj godi- proposal to award all those who have obstruct- nu unazadili borbu za prava i položaj žena u ed the struggle for equal treatment of women društvu. in the society.

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Happiness

ilustracija / illustration Davor Pavelić suradnici / contributors Ron Goodman (art direkcija / art direction) naručitelj / client Adweek Magazine, New York 04/2013

Ilustracija za članak o važnosti sretnih zapo- An illustration for an article about the impor- slenika unutar tvrtke u kojoj rade, jer je jedino tance of happy employees within a company tako moguć njen napredak. because that is the only way for its advance- ment.

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Jack in the box

ilustracija / illustration Davor Pavelić suradnici / contributors Ron Goodman (art direkcija / art direction) naručitelj / client Adweek Magazine, New York 04/2014

Ilustracija za članak o tome kako oglašavanje An illustration for an article about advertis- na mobilnim platformama preuzima primat ing on mobile platforms which overtakes the nad klasičnim internetskim oglašavanjem. primacy over classical internet advertising.

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Multiple Voices

ilustracija / illustration Davor Pavelić suradnici / contributors Rex Bonomelli (art direkcija / art direction) naručitelj / client The New York Times 04/2013

Ilustracija za esej britanskog esejista i pisca An illustration for an essay by a British essay- Pica Iyera o različitim načinima pisanja, ‘glaso- ist and writer Pic Iyer about various ways of vima’ koje pisci koriste u svom radu obraćajući writing, ‘voices’ that writers use in their work se različitoj publici. when they communicate to diverse audiences.

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13. festival europske kratke priče / 13th Festival of European Short Story ilustracija / illustration Danijel Srdarev suradnica / contributor Maja Bagić Barić (art direkcija / art direction) naručitelj / client Hrvatsko društvo pisaca / Croatian Writers Association 04/2014

Festival europske kratke priče književna je The European Short Story Festival is a literary manifestacija koja već dugi niz godina na svom event using illustrations as the main visual glavnom vizualu koristi ilustraciju. Glavna over a longer period of time. The main illus- ilustracija uvijek ukazuje na zemlju koja je te tration always points to the guest country. In godine gost festivala. Festivalski partner 2014. 2014 the partner country was Brazil and illus- bio je Brazil, a ilustracije po svojim bojama, trations with their colours, atmosphere and atmosferi i motivima evociraju floru i faunu motives evoke the flora and fauna of Brazil. Brazila. Pisci gosti festivala poistovjećeni su Guest writers were presented as birds. s pticama.

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Tvoj glas / Your Voice

studio Atom design Split dizajn / design Lana Gruić Vitas naručitelj / client Cenzura plus Split 03/2013

Tvoj glas je kampanja udruge Cenzura plus iz Tvoj glas (Your Voice) is a campaign organized by Splita čiji je cilj povećanje broja glasača od 18 do the Cenzura plus Association from Split. Their 30 godina na lokalnim izborima 2013. Ključna goal in 2013 was to raise the number of voters poruka komunicirana kampanjom je: Prigo- aged 18 – 30 at local elections. The key message varanje je teško, uradi nešto lako i glasaj! Naziv communicated by this campaign was: It is hard kampanje Tvoj glas je personaliziran i direktan, to nag – do something easy and vote! The name of a logo na oblikovnoj razini spaja simbol go- the campaign – Your Voice – is personalized and vornog oblačića koji označava govor i kvačice, straightforward and the logo fuses the speech simbola za odabir u glasanju. U prazan prostor balloon symbol and a tick, or the symbol used za govor mladi su također mogli napisati svoj to indicate the selected vote. Young people politički stav, što logotipu daje participativnu also had the opportunity to write down their dimenziju, koja je opet u vezi sa samom poru- political beliefs in the speech balloons, which kom kampanje. provided the logo with a participative dimension in close relation with the very message of the campaign.

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dizajn / design Nina Bačun, Goran Jovanović suradnik / contributor Nikola Radeljković naručitelj / client Ivan Sršen, Soline 04/2014

So je u Solinama važan dio života već generaci- So or salt makes an important part of life in jama. Vizualni identitet upućuje na vrijednosti Soline for generations. The visual identity solinarske soli. Jedinstven plavi ton daje dubi- communicates the values of salt from Soline. nu, a linijski crteži kristala soli upućuju na ra- A very unique blue tone attributes depth and znovrsnost i posebnost svake berbe. Ambalaža linear drawings of salt crystals reflect diver- soli pri korištenju dobija dodatnu vrijednost, sity and uniqueness of each harvest. When postaje krpa u domaćinstvu, a razglednice koje used, the packaging creates an additional val- su njezin sastavni dio govore o ljepotama mora ue because it can be used as a cloth whereas i vjetra koji igraju ključnu ulogu u stvaranju complementary postcards depict the beauty soli. of the sea and wind playing a key role in the salt production.

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Briši greške, ne baštinu! / Erase Mistakes, Not the Heritage!

studio Bilić_Müller studio dizajn / design Dora Bilić, Tina Müller naručitelj / client Muzej grada Zagreba / Zagreb City Museum 10/2012

Briši greške, ne baštinu!, slogan promotivnog Erase Mistakes, Not the Heritage! is a slogan materijala izložbe Industrijski centar države: za- used for promotion materials at the exhibi- grebačka industrijska baština 1918.– 1945., odra- tion titled Industrial Centre of the State: Indus- žava namjeru projekta da upozori na opasnost trial Heritage of Zagreb in the Period 1918 – 1945, uništenja vrijednih industrijskih objekata na that reflects the intention of the project to atraktivnim gradskim lokacijama. Gumice za warn about the danger of destroying valuable brisanje i grafitna olovka originalni su i do- industrial facilities located at attractive city bro poznati proizvodi zagrebačke tvornice locations. Erasers and a graphite pencil are TOZ (jedne od tvornica predstavljenih u sklo- original and well-known products of the TOZ pu izložbe). U drvenoj kutiji nalazi se 8 bijelih factory (one of the factories presented at the gumica za brisanje (s nazivima i adresama in- exhibition). A wooden box contains 8 white dustrijskih objekata predstavljenih na izlož- erasers (with the names and addresses of all bi), 1 grafitna olovka te nekoliko razglednica s industrial facilities showcased at the exhibi- fotografijama sadašnjeg stanja objekata. tion), 1 graphite pencil and a few postcards with photographs of the present state of those facilities.

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Cinemaniac – Misliti film / To Think Film

studio Bilić_Müller studio dizajn / design Dora Bilić, Tina Muller naručitelj / client MMC Luka, Pula 07/2013

Cinemaniac je izložba koja propituje veze po- Cinemaniac is an exhibition examining rela- kretnih slika i suvremene umjetnosti. Osnovni tions between motion pictures and contem- motiv koji se provlači kroz promotivne mate- porary art. The basic motif used on promotion rijale (katalog, pozivnicu, plakat i bedž) je crni materials (catalogue, invitation and badge) is pravokutnik koji simbolizira trenutak prije i a black rectangle symbolizing the moment između projekcije filma ili videa. Crni kvadrat before and in-between film or video projec- u tiskanim materijalima postaje podloga za tion. The black square on printed materials inserte i reprodukcije umjetničkih materijala. becomes a working surface for inserts and reproduction of art materials.

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Marijina industrija ljepote / Marija’s Beauty Industry

studio Bilić_Müller studio dizajn / design Dora Bilić, Tina Muller naručitelj / client MUO / Museum of Arts and Crafts, Zagreb 12/2013

Katalog i pozivnica izložbe o Mariji Kalentić, A catalogue and an invitation for the exhibi- dizajnerici koja je četvrt stoljeća dizajnirala tion focused on Marija Kalentić, a designer ambalažu jedne od najstarijih i najpoznatijih who designed packaging for a quarter of cen- hrvatskih kozmetičkih tvrtki Neva. Osnovni tury at Neva, one of the oldest and best-known vizualni motiv kataloga i pozivnice je forma Croatian cosmetic companies. The basic mo- kutije izrađena štancanjem i pregibanjem tive of the catalogue and invitation is the form kartona bez lijepljenja. Igra pregibanja i sla- of a box made by using the punching machine ganja te kontrast jednostrano zrcalnog kartona and folding cardboard without gluing. Folding, (motiv zrcala se provlači i u postavu izložbe) layering and contrasted one-sided mirroring direktno asocira na osnovnu temu izložbe: cardboard (the motif of a mirror is apparent ambalažu kozmetičkih proizvoda. Reklame, in the exhibition’s display as well) make a tematski članci i ostali materijali iz časopisa direct association to the main theme of the Svijet provlače se kroz prijelom kataloga te exhibition, i.e. cosmetic products packaging. kroz samu izložbu da bi dočarali specifičan Advertisements, topical articles and other kontekst u kojem djeluje kozmetička indu- materials from the Svijet magazine reappear strija tog vremena. in the catalogue’s layout and the exhibition to evoke the specific context of the cosmetic industry of that era.

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Vikend revolucija / Weekend Revolution

dizajn / design Želimir Boras naručitelj / client Vikend revolucija, Zagreb 03/2014

Znak benda Vikend revolucija je kombinacija The trademark for the Vikend revolucija brand petokrake, simbola pobunjenog naroda ali i is a combination of a pentagram, as the symbol celebrity kulture, i rajčice kao nečeg svježeg i of a revolted nation but also of celebrity cul- zdravog. Vizualni identitet benda ujedno je i ture, and a tomato as the symbol of something parafraza njihovih glazbenih nastojanja – pa- fresh and healthy. The brand’s visual identity radjz-petokraka kao simbol društvene kritike at the same time works as a paraphrase of their na inteligentan i simpatičan način. musical intentions – tomato/five-pointed star is the symbol of social criticism presented in an intelligent and likeable manner.

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Agroproteinka

dizajn / design Ian Borčić, Tanja Prlenda naručitelj / client Agroproteinka 04/2013

Rebranding korporativnog identiteta Agropro- Agroproteinka d.d. is a company with 60 teinke d.d., tvrtke sa 60-godišnjim poslov- years of tradition in collecting and process- nim kontinuitetom u sakupljanju i preradi ing animal waste that has over the past ten nusproizvoda životinjskog podrijetla, koja u years invested in the production of renewable posljednjih desetak godina čini zaokret prema sources of energy. A circular form apparent proizvodnji obnovljivih izvora energije. Kruž- in the graphemics of the new sign has been na forma u grafizmu novog znaka preuzeta duplicated from the natural world to suggest je iz prirode, a sugerira kružno kretanje, re- circular motion, regeneration, renewal and generaciju, pretvorbu iz jednog oblika u dru- transformation from one form to another. The gi i obnovljivost. Mozaična struktura znaka, symbol’s mosaic structure represents the Ag- asocijativno predstavlja dijapazon djelatnosti roproteinka’s overall scope of activities. same Agroproteinke.

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Bio&Bio

agencija / agency Bruketa&Žinić OM kreativni direktori / creative directors Davor Bruketa, Dragan Lakićević art direktor / art director Nebojša Cvetković copywriters Ivan Čepelak, Lana Mujičić senior brand consultant, copywriter Anja Bauer Minkara brand consultant Petra Despot brending agencija / branding agency Brandoctor prodajni koncept / selling concept Brigada kreativni direktor / creative director Damjan Geber produkt dizajner / product designer Simon Morasi Piperčić arhitektica / architect Marina Brletić suradnici /contributors Zrinka Jugec (account director), Jelena Mezga (brand implementor), Saša Krivak (dtp), Ivana Validžić (istraživanje tržišta / market research), Žana Hinek (marketing) naručitelj / client Biovega 12/2013

U pozicioniranju i komunikacijskoj strategiji Positioning on the market and communica- trgovina Bio&Bio kao najveća komparativna tion strategy of the Bio&bio shops focused prednost istaknuti su prodavači koji svojim on their biggest comparative advantage, i.e. znanjem, ljubaznošću i vlastitim primjerom sales personnel whose knowledge, friendli- potiču na pozitivnu promjenu kod kupaca. ness and exemplary behaviour inspire positive Istraživanjem i analizom zaključeno je kako changes with customers. Research and analy- ljudi nisu dovoljno informirani o tome koliko sis have proved that people are not sufficiently je organski uzgojena hrana ukusna, korisna i informed that organic food is tasty, healthy jednostavna za pripremu, te je upravo tu pri- and easy to prepare. Therefore, this story had ču trebalo prijateljski približiti široj javnosti. to be brought closer to the broader public in Na vizualima glavnu ulogu igraju prodavači i a friendly way. Sales personnel and their fa- njihovi omiljeni organski uzgojeni proizvodi. vourite organic products play a key role on all promotional materials.

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Brokula&Ž

agencija / agency Bruketa&Žinić OM kreativni direktori / creative directors Davor Bruketa, Nikola Žinić art direktor / art director Nebojša Cvetković copywriteri / copywriters Ivan Čadež, Ivan Čepelak, Marko Matijašević, Vanja Činić dizajnerica / designer Marina Stančev prodajni koncept / selling concept Brigada kreativni direktor / creative director Damjan Geber (Brigada) branding agencija / branding agency Brandoctor senior brand consultant Anja Bauer Minkara (Brandoctor) brand consultant Petra Despot naming consultant Maja Benčić produkt dizajneri / product designers Simon Morasi Piperčić, Srđana Alač digitalna agencija / digital agency Brlog kreativni direktor / creative director Tin Kadoić (Brlog) copywriter Srđan Laterza developer Mario Lončarić suradnici / contributors Svjetlana Vukić (account manager), Vesna Đurašin (production manager), Jelena Mezga (brand implementor), Marko Ostrež, Radovan Radičević (dtp), Jelena Mihelčić (pr manager), Sanela Kapetanović (voditelj prodaje / head of sales) naručitelj / client Brokula&Ž 09/2012

Brokula&Ž je hrvatski brend odjeće od tkanina Brokula&Ž is a Croatian brand producing od sirovina iz organskog uzgoja, a pokrenuli textile clothing from organic raw materials, su ga Bruketa&Žinić u suradnji s tekstilnom initiated by Bruketa&Žinić in collaboration tvrtkom Lacuna. Cijela kolekcija s unutarnje with the Lacuna textile company. The clothes strane odjeće nosi poruke Brokule i Ž-a, dviju in this collection all have Brokula and Ž’s mes- ptičica u dijalogu, koje su i nositelji vizualnog sages. Brokula and Ž are two birds in a dialogue identiteta i cjelokupne komunikacije ovog and main players of the visual identity and the ekološki orijentiranog brenda. overall communication of this environmental- ly-friendly brand.

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Istria Experience

agencija / agency Bruketa&Žinić OM kreativni direktori / creative directors Nikola Žinić, Dragan Lakićević, Ivan Čadež art direktori / art directors Nebojša Cvetković, Ana Belić strateški planer / strategic planner Ivan Tanić copywriteri / copywriters Ivan Čepelak, Dražen Novak dizajnerica / designer Sonja Šurbatović suradnici / contributors Zrinka Jugec, Vanja Osredečki, Ivanka Mabić (account director), Valentina Bugarin (account executive), Vesna Đurašin (production manager) naručitelj / client Istraturist & Maistra, Rovinj 10/2013

Istria Experience je interaktivni web portal Istria Experience is an interactive web portal koji turistima omogućuje jednostavno kreira- allowing tourists to create and realize their nje i realizaciju vlastitog jedinstvenog iskustva own, unique experience of Istria by making a Istre, kroz izradu timelinea putovanja, ali i me- timeline of their journey and communicating đusobnu komunikaciju na principu društvene among themselves based on the principle of a mreže. Iz toga je proizašla i kreativna strategi- social network. The same principle was used ja: Plan is yours so plan it, live it, share it. Vizualni for a creative strategy: Plan is yours so plan it, identitet se temelji na motivu stabla masline live it, share it. The visual identity is based on kao prepoznatljivog simbola Mediterana. the motif of an olive tree as a recognizable symbol of the Mediterranean.

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Villa Vicenca

dizajn / design Mario Depicolzuane, Sabina Barbiš naručitelj / client Terra Immobilien, Krk 10/2013

Dizajn vizualnog identiteta i web stranice s The design of visual identity and web site with integriranim sustavom bukiranja te raznih an integral booking system and various print- tiskanih materijala za Villu Vicencu, jednu ed materials for Villa Vicenca, one of the most od najljepših rustikalnih kuća na otoku Krku. beautiful rustic residences on the island of Krk. Vizualni identitet inspiriran je samom vilom, The visual identity was inspired by the villa njenim romantičnim okruženjem i uspješ- itself, its romantic surrounding and successful nim spojem tradicije i suvremene turističke amalgam of the traditional and the modern. ponude.

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Speed-business card

dizajn / design Ivan Dilberović naručitelj / client Sanda Jeličić, Zagreb 02/2013

Ideja speed-business posjetnice temelji se na The idea for a speed-business card is based predstavljanju sebe kroz pričanje priče s do- on introducing oneself with a witty story. As zom humora. Kao i u speed datingu, ključno je with speed dating, it is crucial to leave a very ostaviti dobar prvi dojam u što manje vreme- good first impression in the shortest period na kako bi se uspostavio naknadni kontakt. U of time in order to establish contact later on. poslovnom svijetu, to je sve teže za postići, no In the business world this is becoming more otvorenost i iskrenost ove priče čine tu opciju and more difficult yet openness and frank- lakše ostvarivom. ness of the story make this option much more realistic.

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Eno-astro-gastro

studio Studio Dogan kreativni direktor / creative director Zrinka Penava Dogan suradnik / contributor Siniša Waldinger (copywriter) naručitelj / client Vinoteka Bornstein / Bornstein Wine Store, Zagreb 11/2013

Projekt Eno-astro-gastro svojevrstan je tjed- The Eno-Astro-Gastro project is a kind of week- ni horoskop kojim Vinoteka želi poručiti da, ly horoscope conveying the winery’s message bez obzira na promjene, svakodnevno ostaje that regardless of the transfer its intention is prisutna u životima svojih klijenata. Projekt to remain present in everyday lives of all of se sastoji od sedam poklon paketa eno-gastro its customers. The project is made seven oe- sadržaja i pripadajućih vinskih pregača te onli- nological and gastro gifts with matching wine ne kataloga. Svaki od paketa, odnosno pregača, aprons and an online catalogue. Each package povezan je s jednim danom u tjednu. Motivi with an apron is linked to a day of a week. The se razlikuju po astrološkim znakovima planeta motifs change according to astrological signs vezanim uz pojedini dan te po svojevrsnom and planets related to a particular day and a vinskom savjetu/horoskopu. kind of wine recommendation/zodiac.

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Improspekcije

studio Đukićpavlović dizajn / design Dora Đurkesac, Zoran Đukić, Jan Pavlović naručitelj / client Improspekcije, Zagreb 11/2013

Vizualni identitet festivala improvizacije u The visual identity of the Festival dedicated izvedbenim umjetnostima temelji se na ko- to improvisation in performance arts is based rištenju improvizacijskih tehnika u dizajnu. in the use of improvisation techniques in the Improvizacija u oblikovanju je često nevidljiva field of design. Design improvisations tend u gotovom rješenju jer joj nedostaje vremen- to be invisible in the final product due to the ska komponenta. Proces dizajniranja logoti- absence of the time component. The process pa stoga je dokumentiran automatiziranim of designing the logo was documented by au- snimanjem ekrana svakih 10 sekundi. Finalno tomated screen recording every 10 seconds. rješenje dobiveno je preklapanjem svih sni- The final design is a product of merging all mljenih slika u jednu. Izrađen je i letak u duhu recorded images into one. A leaflet was also provizorne uradi sam estetike te brošura koja designed in the spirit of do-it-yourself aesthet- je prelamana bez ispravljanja grešaka – svaki ics together with a brochure with uncorrected unos teksta ili mijenjanje kompozicije i tipo- layout – all new text entries or changes of the grafije ostaje vidljivo. composition and typography remained visible.

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Ljetnikovac Bunić Kaboga / The Bunić Kaboga Villa

studio Đukićpavlović dizajn / design Zoran Đukić, Jan Pavlović suradnik / contributor Mario Kolarić (ilustracija / illustration) naručitelj / client Batahovina Foundation, Liechtenstein 05/2013

Bunić Kaboga je gotičko-renesansni ljetniko- Bunić Kaboga is a villa built in the Gothic and vac, jedan od najljepših primjera ladanjske Renaissance styles of architecture and stands arhitekture. Nakon nedavne obnove predvi- as one of the most beautiful examples of this đen je za kulturne, nekomercijalne sadržaje. type of architecture. It has been recently re- Koncept vizualnog identiteta ljetnikovca kreće stored to serve for cultural and non-commer- od raznolike strukture njegovih posjetitelja – cial purposes. The concept of visual identity kako bi se postigla adekvatna komunikacija, starts from a very diversified structure of vis- projektiraju se tri razine identiteta. Prva se itors. Three levels of identity were created in obraća neupućenom turistu, druga građaninu order to establish adequate communication Dubrovnika, a treća stručnjaku iz restaurator- with them: the first level communicates with skog zavoda. uninformed tourists, the second with citizens of Dubrovnik and the third with the restoration institute.

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Illectricity festival

studio Đukićpavlović dizajn / design Zoran Đukić, Jan Pavlović suradnici / contributors Dioralop (modni dizajn / fashion design), Damir Žižić (fotografije / photographs), Ivan Buća (web programiranje / web programming), Imaginarium (tetovaže / tattoos) naručitelj / client Udruga Konfuzija / Confusion Association, Zagreb 11/2013

Nedostatak financijskih sredstava, problem Lack of funds, common problem of many fes- svakog festivala, inspirirao je vizualni iden- tivals, served as the inspiration for the visual titet festivala elektronske glazbe Illectricity. identity of the Illectricity electronic music Znak i logo temeljeni su na nemogućim trodi- festival. The symbol and logo are based on menzionalnim objektima, te zaokruženi tipo- imaginary 3D objects and the Macula typeface grafijom Macula koja također crpi inspiraciju inspired by the Escherian forms. The Festi- iz escherovskih oblika. Glavno promotivno val’s newspaper was used as one of the main sredstvo festivala su festivalske novine. Ri- promotional tools. The newspaper is printed ječ o novinama velikog formata čije se prve 4 in a large format so that first four covers can duplerice rastvaraju u plakate. U nakladi od be unfolded to make posters. In that way, the 5000 novina festival tako istovremeno dobiva Festival can use 20.000 posters by printing i 20000 plakata. only 5.000 newspapers.

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DuList

studio Đukićpavlović dizajn / design Zoran Đukić, Jan Pavlović, Hrvoje Živčić naručitelj / client DuList Dubrovnik 01/2014

DuList je dubrovački tjednik malog formata, DuList is a small format weekly magazine pub- tiskan na novinskom papiru, s lokalnim sadr- lished in Dubrovnik, focused on local content žajem. Zadatak je bio kompletno redizajnirati and printed on paper used for newspapers. novine i postaviti strogi sistem kako bi zadr- The aim was to completely redesign the mag- žale novi dizajn kroz buduće brojeve. Jedan azine and introduce a strict system in order to od bitnih elemenata je uvođenje polustupca maintain the new design for the future issues. koji uvjetuje dinamičnost svake stranice, ali i One of the important elements of design is potiče onoga koji prelama novine na kreativ- related to the introduction of semicolumns nost. U dogovoru s uredništvom uspostavlje- that govern the dynamics of each page at na je dinamičnija struktura slaganja vijesti te the same time inspiring creativity for future uvedena logična organizacija kategorija čiji design of the layout. It was also agreed with se identitet očituje kroz specifične tretmane the editors that a more dynamic structure for fotografija i tipografije. setting the news together with a more logical organization of categories with clear identity and distinct treatment of photographs and typography should be introduced.

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Žedno uho

dizajn / design Andro Giunio naručitelj / client Žedno uho festival 05/2014

Žedno uho već je 15 godina jedan je od naju- For 15 years the Žedno Uho Festival has been tjecajnijih festivala alternativne glazbe u Za- one of the most influential alternative music grebu. Vizualni identitet nije strogo definiran festivals in Zagreb. Its visual identity is not sustav već je zamišljen kao slobodnija grafička strictly defined; it rather functions as a free forma koja svoje uporište prije svega nalazi u graphic form emerging from the tradition of tradiciji uličnog plakata. Identitet se temelji street posters. The identity is based on typog- na tipografiji, koja analognom i digitalnom raphy that upon analogue and digital manipu- manipulacijom postaje ilustracija i preuzima lation becomes an illustration in function of ulogu vizualnog koda. a visual code.

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Refleksije vremena 1945. – 1955. / Reflections of Time 1945 – 1955

studio Hamper dizajn / design Ivana Vučić, Tomislav Jurica Kaćunić suradnici / contributors Jasmina Bavoljak (kustosica / curator), Željka Županić (dizajnerica / designer), Radovan Radičević (prijelom / layout), Darko Bavoljak (fotografije / photographs), Nedjeljko Mikac (dizajn postava izložbe / exhibition design) naručitelj / client Galerija Klovićevi dvori / Klovićevi dvori Gallery, Zagreb 12/2012

Vizualni identitet izložbe koja nudi drugačiji The visual identity for the exhibition that of- pogled na prvu dekadu poslijeratne Titove Ju- fers a different insight in the first decade of goslavije, od završetka Drugog svjetskog rata Tito’s Yugoslavia, from the end of World War do emitiranja prvog TV signala. Socrealistič- II to the broadcasting of the firstTV signal. Ico- ku ikonografiju prati ‘revolucionarni’ logotip nography of social realism is reflected in the izložbe, upotreba prepoznatljivog YU trikolora ‘revolutionary’ logotype, the use of recogniz- u diferenciranju triju glavnih poglavlja (po- able colours found on the YU flag and differ- vijest-umjetnost-društvo) ili pokazne vrpce entiation between the three main chapters knjige, parolaški tretman naslova zajedno s (history-art-society) or bookmarks, treatment bogatom foto-dokumentacijom toga vremena, of the title together with rich photographic signalizacijom postava, te serijom ‘udarničkih’ documentation of those times, signalization plakata. of the display and a series of ‘shock-worker’ posters.

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Solid acts – Design from Croatia

studio Hamper dizajn / design Ivana Vučić, Tomislav Jurica Kaćunić suradnici / contributors Tatjana Bartaković (kustosica / curator), Neven Kovačić (dizajn postava / exhibition design), Domagoj Kunić (fotografije / photographs), Luka Mjeda, Tatjana Bartaković (urednici / editors) naručitelj / client Centar za dizajn HGK / Design Center, Croatian Chamber of Economy 04/2013

Vizualni identitet izložbe hrvatskog produkt The visual identity of the exhibition of the Cro- dizajna na Tjednu dizajna u Milanu 2013. Ključ- atian product design at the 2013 Design Week na tematska okosnica izložbe – uključenost in Milan. The keynote of the exhibition, or par- ručne izrade u proizvodnji dizajnerskih proi- ticipation of handcrafting in the production zvoda – komunicira se logotipom inspiriranim of designed products, is communicated by the šablonama slova za tehničko crtanje. Katalog logo inspired by typecasts for technical draw- izložbe je oblikovan u formi novina kako bi ing. The exhibition catalogue was designed što fukcionalnije prezentirao sadržaj izložbe in the form of newspapers in order to func- strukturiran u 9 tematskih kategorija (rubrika), tionally present the exhibition’s content struc- a ‘novinski’ prijelom kataloga apliciran je i na tured in 9 topical categories (columns) with a drvene panele u postavu izložbe tako da je sva- newspaper layout applied on wooden panels ki izloženi rad dobio ‘informativnu’ podršku u used for the exhibition display. In that way pozadini stvarajući u prostoru dojam velikih each work showcased on the exhibition had rastvorenih novina iz kojih izlaze 3D proizvodi. its ‘information’ support in the background creating the impression of immense spread newspapers with emerging 3D products.

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U ritmu dodira / In the Rhythm of Touch

studio Hamper dizajn / design Tomislav Jurica Kaćunić, Ivana Vučić suradnici / contributors Tomislav Jurica Kaćunić (ilustracije / illustration), Ljiljana Velkovski (kustosica / curator), Nikolina Jelavić Mitrović (dizajn postava / exhibition design), Printera grupa, Rem-b, Hrvatska tiskara slijepih (tisak / print), Tomislav Jurića Kaćunić, Duje Medić, Ana Kovačić, Nikolina Zanoški, Petra Kovačić, Vana Gaćina, Iva Ćurić (fotografije / photographs), Karmen Nenadić, Liduška Salaba (stručne suradnice / expert assistants) naručitelj / client Galerija Klovićevi dvori / Klovićevi dvori Gallery, Zagreb 05/2014

Vizualni identitet multimedijske izložbe za The visual identity of the multimedia ex- slijepe, slabovidne i videće osobe. ‘Domino’ je hibition for the blind, partially sighted and igra u kojoj slijepi i videći jednako uživaju! – izjava seeing persons. ‘Domino’ is a game which the je jedne slijepe osobe kada se prvi puta susre- blind and the seeing equally enjoy!, a blind per- la s tom igrom. Ta izjava je bila polazište za son said when she first came across the game. osmišljavanje vizualnog identiteta izložbe za This statement was a starting point for creat- koju je bilo potrebno razviti jednakopravnu ing the visual identity of the exhibition that komunikaciju za 3 ciljne grupe – slijepe, slabo- demanded uniform communication for the vidne i videće. Osim ‘čitanja rukama’, projekt three target groups: the blind, partially sight- je trebao omogućiti slijepim osobama i kvali- ed and seeing persons. Besides ‘hand-reading’, tetno ‘gledanje rukama’. Stoga su korištene tri the project intended to provide blind persons različite tehnologije – offsetni tisak za videće with the ability to ‘see with their hands’. For i slabovidne osobe, sitotisak ‘taktilnih ilustra- this purpose three different technologies were cija’ i reljefni (slijepi) tisak Braillovih znakova used: offset print for the partially sighted per- za slijepe. sons and persons who are able to see, serigraph print for the so-called ‘tactile illustrations’ and relief (or blind) print for the Braille characters.

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60 godina GLUO / 60 Years of the GLUO

studio Marivo dizajn / design Marko Jovanovac naručitelj / client Galerija likovnih umjetnosti / Gallery of Fine Arts, Osijek 01/2014

Vizualni identitet povodom 60. godina Ga- The visual identity created on the occasion lerije likovnih umjetnosti Osijek dizajniran of the 60th anniversary of the Gallery of Fine je kao ekstenzija postojećeg logotipa kružne Arts in Osijek was designed as the extension of forme s vizualno naglašenom kraticom imena the existing circular logotype bearing the ab- institucije. Naziv institucije i godina obljetnice breviation of the institution. The name of the povezani su preko slovnog znaka O. Za potrebe institution and the anniversary were merged obljetnice predložena je i izvedena cijela linija with the character O. For the purposes of the proizvoda i suvenira. anniversary a whole line of products and souvenirs was introduced.

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Dentalni centar Ledikdent / Ledikdent Dental Centre

dizajn, ilustracija / design, illustration Izvorka Jurić suradnik / contributor Damir Jakopčević (fotografije / photographs) naručitelj / client Ledikdent dentalni centar 10/2013

Posebnost ove privatne stomatološke ordina- This private dentistry is very unique because cije je zasebna ordinacija za djecu i kompletna it has a separate dentist’s office for children usluga za cijelu obitelj na jednom mjestu. Os- thus providing complete family service at a nova vizualnog identiteta je znak koji pred- single spot. The visual identity is dominated by stavlja stilizirano lice s izraženim osmijehom. the symbol of a stylized smiling face. Main co- Osnovne kućne boje (žuta, tamno siva, crna i lours (yellow, dark grey, black and white) used bijela) u kombinaciji sa suvremenom tipogra- in combination with contemporary typogra- fijom grade ostatak identiteta. Obzirom da je phy make for the rest of the identity. Having kominikacija velikim dijelom usmjerena djeci, in mind that communication is primarily na bazi znaka osmišljene su ilustracije nasmi- directed at children, several illustrations of ješenih životinja koje se pojavljuju u prostoru smiling animals were designed on the basis of ordinacije i na tiskanim materijalima poput the main symbol and put up inside the dental bojanke i diplome za male pacijente. U pro- centre’s facilities together with printed mate- storu čekaonice djeca se mogu i izmjeriti na rials such as colouring pages or diplomas for mjernoj skali Ledikdent žirafe. little patients. In the waiting room children can measures themselves on the Ledikdent giraffe scale.

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Lanterna Grill Bar

agencija / agency Kuharić Matoš kreativni direktor / creative director Bojan Matoš art direktor / art director Luka Kuharić dizajner / designer Pavao Kuharić naručitelj / client Lošinj Hotels & Villas, Mali Lošinj 06/2013

Vizualni identitet inspiriran je bogatom po- The visual identity was inspired by the marine morskom poviješću otoka Lošinja i motivom history of the island of Lošinj and a motif in koji se nalazi uz samu lokaciju restorana – sta- close proximity to the restaurant – the old rim svjetionikom (lanternom). Identitet je obu- lighthouse (lantern). The identity comprised hvatio sve standardne restoranske materijale, all standard restaurant materials, from the od jelovnika do signalizacije. menu to signalization.

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Goli otok

dizajn / design Boris Ljubičić naručitelj / client Hrvatski državni arhiv / Croatian State Archives, Zagreb 02/2013

Plakat stradalih, plakat bez teksta, knjižica, A poster dedicated to the victims, a poster omot za DVD. without text, booklet, DVD cover.

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Heraldi

studio Manasteriotti∞Marić art direktor / art director Igor Manasteriotti dizajner / designer Mia Marić naručitelj / client Diversus res, Zagreb 05/2013

Vizualni identitet prodavaonice muške mode The visual identity for the Heraldi menswear u Zagrebu. Heraldi prodaje visokokvalitetne shop in Zagreb. Heraldi distributes high-qual- brendove muške mode kao što su Strellson, ity fashion brands like Strellson, Joop, Canali Joop, Canali i Church’s Shoes. Inspiracija za and Church’s Shoes. Inspiration for the logo logo dolazi is finog tekstilnog tkanja u vrhun- was found in fine textile used for top-notch skim muškim odijelima. Stilizirano tkanje men’s clothing. Stylized texture reveals the prikazuje slovo H u negativnom prostoru. letter ‘H’ in negative space. Colours remained Kolorit je zadržan u sepijastom tonu, kako bi in sepia tone in order to accentuate tradition se naglasila tradicija i profinjenost. Vizualni and refinement. The visual identity is trans- identitet prenesen je na sve korporativne i posed to all corporate and promotional ma- komunikacijske materijale te signalistiku na terials and signalling for the shop’s interior interijeru i eksterijeru prodavaonice. as well as the exterior.

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Škver

dizajn / design Niko Mihaljević naručitelj / client Škver, Mali Lošinj 05/2014

Vizualni identitet međunarodnog festivala The visual identity of the international festival eksperimentalne i rubne umjetnosti Škver of experimental and border art – Škver – tak- koji se održava u Malom Lošinju. Budući da je ing place in Mali Lošinj. Since Lošinj is often Lošinj percipiran uglavnom kao mirna wellness perceived mainly as a quiet wellness tourist turistička destinacija te je reklamiran kao otok destination and advertised as ‘the island of vitalnosti, dizajn Škvera se parazitski ugrađuje vitality’, the design of Škver is a parasitic ad- u postojeće grafičke i digitalne materijale tu- dition to the existing graphic and digital mate- rističke zajednice koja promovira takvu sliku rials of the tourist board that has already been otoka. Njihov vokabular sterilnih fotografija promoting such image of the island. Their delfina, Apoksiomena i parova u restoranima common vocabulary of sterile photographs subvertira se jukstapozicijom nerafiniranih with dolphins, Apoxiomen and couples eating Škverovih vizuala, te se tako ukazuje na po- in restaurants is subverted by the juxtaposed stojanje nekih alternativnih mogućnosti pro- unrefined visuals of the Škver Festival in order vođenja vremena na otoku. Vernakularnom to point out to some alternative programmes zaigranošću narušava se isprazni, pročišćeni for spending time on the island. Vernacular oglašivački jezik. playfulness interferes with purified and shal- low advertising discourse.

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Novosti

agencija / agency Parabureau kreativni direktori / creative directors Igor Stanišljević, Damir Bralić suradnici / contributors Nikola Đurek (stručni suradnik / expert assistant), Marija Juza (dizajnerica / designer) naručitelj / client SNV, Zagreb 12/2012

Redizajn tjednika je težio uskladiti izgled novi- Redesign of the periodical intended to har- na s njihovim sadržajem. Neredu koji dominira monize its layout and content. Disorder dom- u domaćim medijima suprotstavljen je pristup inating domestic media is confronted with an koji se bazira na minimumu iskorištenih gra- approach based on the minimum of already fičkih elemenata kako bi se naglasak vratio na used graphic elements in order to reinstate novinarstvo. Novosti su jedinstvene po činjeni- journalism. The Novosti periodical is unique ci da jedan jezik pišu na dva različita pisma. Ta because it publishes articles in two different je činjenica potencirana kroz koncept dizajna alphabets. That fact is further accentuated – spajanje latinice i ćirilice tj. istodobno pisanje in the design concept by unifying Latin and i jednim i drugim pismom. Koriste se dvije Cyrillic scripts, i.e. articles published in both. boje (crna i ‘prva boja’ u tipografiji, crvena), dva The periodical uses two main colours (black osnovna pisma (Brioni i Fedra) kao i hibridno and ‘the first colour’ in typography – red), two latinično-ćirilično pismo Novosti. Izbacivanje main typefaces (Brioni and Fedra) and a hybrid posve nepotrebnog tretmana fotografija u boji, Latin and Cyrillic typeface also named Novosti. isticanje inicijala u crvenoj boji kao i upotreba Decision to eliminate totally useless treatment crvenih linija koje presijecaju tekst još jednom of colour photos, initials highlighted in red nas podsjećaju da je riječ o zrelim i progresiv- together with the use of red lines intersect- nim novinama s karakterom. ing the text are here to remind us that this progressive and mature periodical has a recognizable character.

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Dani hrvatskog filma / Croatian Film Days

dizajn / design Tea Pavić, Karla Paliska naručitelj / client Dani hrvatskog filma, Zagreb 05/2013

Ovogodišnji Dani hrvatskog filma su nakon po- Despite the fact that initial preparations were četnih priprema i naknadne odluke o obustavi interrupted by a decision to stop the organi- organizacije i ukidanju festivala, ipak pokrenu- zation and terminate the Festival, this year’s li realizaciju festivala sa značajno smanjenim edition of the Days of Croatian Film nonethe- budžetom. Stoga vizualni identitet reflektira less took place but with a considerably reduced upravo tu konkretnu situaciju previranja koja budget. For that reason the visual identity re- je i dovela do vjerovatno posljednjeg izdanja flects this concrete turning point situation DHF-a u dosad poznatom formatu. Svi vizu- that lead to most probably last edition of the ali su potrgani i fotografirani u prostoru SC-a Days of Croatian Film in its current form. All referirajući se na odluku o ukidanju festivala visuals are torn apart and photographed at u tijeku priprema i najava o ovogodišnjem po- the Student Centre in Zagreb referring to sljednjem održavanju festivala pozivajući na the decision to terminate the Festival during diskusiju o važnosti ovog festivala na izdisaju. the preparatory phase and in the light of an- Zlatni vizuali su također svojevrsni ironijski nounced that this year’s festival is the last one kometar na siromašno, ali slavodobitno izda- and calling for a discussion about the impor- nje ovogodišnjeg DHF-a. tance of this festival with one foot in its grave. Golden visuals are a kind of ironic commentary to poverty but also a glorifying edition of this year’s festival.

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Hrvatski sabor kulture / The Croatian Cultural Association

dizajn /design Damir Prizmić, Ivan Klisurić naručitelj / client Hrvatski sabor kulture / Croatian Cultural Association, Zagreb 2012 – 2013

Serija plakata i deplijana glazbenih događaja A series of posters and brochures for musi- u organizaciji Hrvatskog sabora kulture. Rje- cal events organized by the Croatian Cultural šenje je uvjetovano niskim produkcijskim Association. The design was constrained by a budžetom i bazirano na korištenju tehničkih low production budget and based on the use of mogućnosti ofsetnog tiska i ručne montaže. technical capacities such as offset printing and Iz istog se otisnutog arka producirao plakat hand editing. The same printed folio sheet to koji doradom (rezanjem i savijanjem) gene- produce a poster which was further developed rira osam programskih deplijana varijabilnih (by cutting and folding) to generate eight bro- naslovnica. Svi plakati iz serije zasnovani su chures with variable covers. All posters from na istoj oblikovnoj logici i dijele srodan vizu- the series are based on the same design logic alni jezik. and share a common visual code.

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Brand New Year

agencija / agency Señor koncept i kreativna direkcija / concept and creative direction Vanja Blumenšajn art direktor / art director Imelda Ramović dizajneri / designers Hamper, Vedran Klemens, Jagoda Jurišić, Nebojša Cvetković, Superstudio29, MIRELDY, Đukićpavlović, Manasteriotti∞Marić, Šesnić&Turković, Izvorka Jurić, Boubish, Pero Vojković copywriter Boris Miletić account manager Iva Kaligarić samoinicirani rad / self-initiated work 12/2013

U vremenima kada je gospodarska depresija In the era when the economic depression has postala glavna isprika da pognemo glave i gr- become the main excuse to bend our hands in čevito pokušavamo zadržati dojučerašnje pozi- a desperate attempt to maintain former posi- cije, kreativni je zanos u poduzetničkim inici- tions, creative zest in various entrepreneurial jativama pao u drugi plan, posebno u njihovom initiatives has fallen in, especially in terms of vizualnom i komunikacijskom aspektu. Zato its visual and communication aspects. For that je Señor odlučio osmisliti 12 imena budućih reason Señor decided to create 12 names for malih biznisa, te im u suradnji s 12 vrhunskih the future small businesses and inspire the grafičkih dizajnera i studija udahnuti vizualnu visual component in collaboration with 12 top komponentu. Ovih 12 imena, pripadajućih slo- graphic designers. The 12 brand names and gana i logotipa poklanja se budućim hrvatskim corresponding slogans and logos are to be pre- poduzetnicima s ciljem donošenja daška svje- sented to the future Croatian entrepreneurs žine poslovično dosadnom domaćem tržištu. with the aim to breathe new life into boring domestic market.

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Croatia à la carte

studio Superstudio29, Zagreb art direkcija, verbalni identitet, urednica knjige / art direction, verbal identity, book editor Ira Payer dizajn i ilustracija / design and illustration Iva Hrvatin inicijalna ideja / initial idea Sanja Kuzmanović koautori / co-authors Petar Mudnić Cerineo, Andro Giunio, Ivana Brajdić suradnici / contributors Željka Klemenčić (tekstovi / texts), Mario Muštra (konzultant za kartašku igru / card game consultant) samoinicirani rad / self-initiated work 12/2013

Edukativna i zabavna kartaška igra u čijem su An educational and entertaining card game fokusu tradicionalni hrvatski recepti i tipične focusing on traditional Croatian recipes and lokalne namirnice. Igra je originalna, s pravi- typical local foods. The game is original, with lima posebno osmišljenima za ovaj projekt, a the rules especially created for this project, predviđena je za 2 – 6 igrača. Igraće karte sa- envisaged for 2 – 6 players. The playing cards stoje se od dva špila: špila s receptima te špila consist of two decks: a deck with recipes and s namirnicama/sastojcima. Tijekom igre svaki a deck with food/ingredients. During the igrač prikuplja karte sa sastojcima prema onim game, every player collects cards with the in- receptima koji su mu dodijeljeni na početku gredients necessary for the recipes he or she igre. Za potrebe igre broj sastojaka je pojed- received at the beginning of the game. For the nostavljen, no jela i način pripreme detaljno purposes of the game, a number of ingredi- su opisani i ilustrirani u pripadajućoj kuharici, ents has been simplified, but the dishes and koja je, kao i karte, dvojezična. methods of preparation are described in detail and illustrated in the accompanying cookbook, which, like the cards, is bilingual.

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Croatie, la voici — Festival de la Croatie en France

studio Superstudio29 dizajn / design Ira Payer , Andro Giunio, Maša Poljanec naručitelji / clients Ministarstvo kulture RH, Institut français Paris / Ministry of Culture of the Republic of Croatia, French Institute 2012 – 2013

Croatie, la voici – Festival de la Croatie en France Croatie, la voici – Festival de la Croatie en France najveća je manifestacija kojom se Hrvatska is the biggest event so far representing Croa- dosad predstavila u inozemstvu, a realizira- tia abroad, held as part of the programme of na je u sklopu programa Saisons culturelles Saisons culturelles, organised in France since koji se u Francuskoj održava od 1985. godine 1985 by the French institute. The festival com- u organizaciji Francuskog instituta. Festival prised as many as 60 events on 45 locations je obuhvaćao čak 60 događanja na 45 lokacija, over the course of three months, mainly in tijekom tri mjeseca, većinom u Parizu i pa- Paris and the Paris region, and was organised riškoj regiji, a organiziran je u suradnji s više in cooperation with more than 30 cultural in- od 30 kulturnih institucija koje su predstavile stitutions representing the Croatian heritage, hrvatsku baštinu, vizualne umjetnosti, dizajn, visual arts, design, architecture, dance, theatre, arhitekturu, ples, kazalište, glazbu, film, knji- music, film, literature, education, science, gas- ževnost, obrazovanje, znanost, gastronomiju, tronomy, sports and the economy. The project sport i gospodarstvo. Projekt obuhvaća verbal- includes the verbal and visual identity of the ni i vizualni identitet festivala te široki spektar festival and a broad spectrum of applications aplikacija – brošuru, katalog, plakate, web stra- – brochures, catalogues, posters, websites, ad- nice, oglašavanje, promotivne proizvode itd. vertising, promotional products, etc.

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Milka Trnina 150 godina / 150 Years of Milka Trnina

studio Superstudio29, Zagreb art direktorica / art director Ira Payer dizajn / design Marina Jukić dizajn monografije / monograph design Andro Giunio naručitelj / client Općina Križ / Municipality of Križ 11/2013

Milka Trnina (1863. – 1941.), jedna od najvećih Milka Trnina (1863 – 1941), one of the greatest hrvatskih i svjetskih opernih umjetnica, koja je Croatian and world opera singers, who per- nastupala na najznačajnijim svjetskim pozor- formed on some of the most significant world nicama, rođena je u selu Vezišće u Općini Križ. stages, was born in the village Vezišće in the Općinsko vijeće odlučilo je 2013. godinu, 150-u Križ Municipality. The municipal council de- obljetnicu njezina rođenja, proglasiti Godinom cided, on the 150th anniversary of her birth, Milke Trnine i obilježiti je brojnim događanji- to declare 2013 the Year of Milka Trnina, and ma u čast opernoj divi. Tim je povodom diza- mark it with numerous events in the hon- jniran obljetnički vizualni identitet, opsežna our of the opera diva. On this occasion, the monografija, serija plakata i raznih tiskanih anniversary visual identity was designed, a materijala te prigodnih lokalno proizvedenih comprehensive monograph, a series of posters suvenira. Ova inicijativa Općinskog vijeća za- and various printed materials as well as local- mišljena je kao dio strateškog gospodarskog ly manufactured souvenirs. This initiative of razvoja Općine. the municipal council was imagined as part of the strategic economic development of the municipality.

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HR, EU.

studio Superstudio29, Zagreb art direkcija i verbalni identitet / art direction and verbal identity Ira Payer dizajneri / designers Marina Jukić, Andro Giunio konzultant i suautor / cunsultant and co-author Boris Ljubičić suradnici / contributors Petar Mudnić Cerineo, Sanja Kuzmanović, Ivana Brajdić naručitelj / client Vlada Republike Hrvatske / The Government of the Republic of Croatia 06/2013

Za potrebe pridruživanja Republike Hrvatske For the purposes of the accession of the Re- Europskoj uniji bilo je potrebno kreirati jed- public of Croatia to the European Union it nostavan i prepoznatljiv dizajn kojim se pred- was necessary to create a simple and recog- stavljamo Europi i svijetu. Vlada RH je odlučila nizable design with which we are represented napraviti iskorak i temeljiti vizualni identitet in Europe and the world. The Government of tog događaja na osuvremenjenom konceptu the Republic of Croatia decided to take a step hrvatskog identiteta koji već dugi niz godina forward and ground the visual identity of this zagovara dizajner Boris Ljubičić – crvenom i event on a modernized concept of the Croatian plavom kvadratu koji se dodiruju u jednoj točki identity, advocated for many years by the de- i tako sintetiziraju postojeću zastavu i grb. Na signer Boris Ljubičić – a red and a blue square tom temelju dizajniran je fleksibilni sustav koji touching in one point, thus synthesising the kao okosnicu uzima crveni i plavi kvadrat te existing flag and coat of arms. On this basis, im potom u zadanom rasteru pridružuje manje a flexible system was designed, taking as its kvadrate, koji pak predstavljaju druge države outline the red and blue, adding to them in a EU prema bojama njihovih zastava. Iz tog je su- specified grid smaller squares, which represent stava proizašlo nekoliko desetaka kombinacija the other EU member countries according to koje su se koristile u brojnim upotrebama vi- the colours of their flags. From this system, zualnog identiteta – od letaka do tv animacija. several dozens of combinations were derived, which were used in many applications of the visual identity – from leaflets toTV animations.

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Vojin Bakić: svjetlonosne forme / Vojin Bakić: Lightbearing Forms

studio Superstudio29 dizajn / design Andro Giunio, Ira Payer suradnici / contributors Marina Jukić, Iva Hrvatin, Ivana Brajdić, Sanja Kuzmanović naručitelj / client MSU / Museum of Contemporary Art, Zagreb 12/2013

Prva retrospektiva Vojina Bakića, jednog od The first retrospective exhibition of the works najznačajnijih hrvatskih kipara 20. stoljeća i of Vojin Bakić, one of the most significant Cro- umjetnika koji se uvrštava u sam vrh europ- atian sculptors of the 20th century, considered skog modernizma. Izložba je obuhvaćala više one of the top artists of European modern- od 200 skulptura, stotinjak crteža te brojne ism. The exhibition comprised more than 200 skice, makete spomenika, fotografije, osobnu sculptures, about a hundred drawings and dokumentaciju te audio i filmsku građu, a na- numerous sketches, models of monuments, zvana je prema ciklusu Svjetlonosni oblici, nasta- photographs, personal documentation and lom 60-ih godina prošlog stoljeća. Dizajnerski audio and film material, and was named after se projekt sastojao od vizualnog identiteta te the cycle Lightbearing Forms, created in the velikog broja tiskanih i digitalnih materijala 1960s. The design project consisted of the vi- (katalog, oglašavanje, suveniri, prostorna gra- sual identity and a great number of printed fika itd.) and digital material (catalogue, advertising, souvenirs, spatial graphics, etc.)

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Arhitektura i arheologija / Architecture and Archeology

studio Šesnić&Turković dizajn / design Marko Šesnić, Goran Turković naručitelj / client Arhitektura i arheologija, Dubrovnik 10/2013

Arhitektura i arheologija je španjolsko-hrvatski Architecture and Archeology is a Spanish and Cro- arhitektonski ured koji se bavi prvenstveno atian architecture firm primarily dealing with konzervatorskom arhitekturom. Projektiraju architectural conservation. The firm practices obnovu stare zaštićene arhitekture i u nju in- restoration of old, protected architecture and terpoliraju suvremenu arhitekturu. interpolation of contemporary architecture.

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Memorijalni centar Faust Vrančić / The Faust Vrančić Memorial Centre

studio Šesnić&Turković dizajn / design Marko Šesnić, Goran Turković naručitelj / client Memorijalni centar Faust Vrančić 09/2012

Za memorijalni centar Faust Vrančić na otoku For the Faust Vrančić Memorial Centre on the Prviću autori su dizajnirali vizualni identitet, island of Prvić the designers created the visual ali i postav i multimediju u suradnji s Arhitek- identity as well as the display and multimedia tonskom radionicom Peračić i produkcijskom in collaboration with the Peračić Architectur- kućom Kinoteka. Faust Vrančić je, osim po- al Firm and the Kinoteka Production House. znatog padobrana, izumio i veliki broj razli- Apart from his best-known invention – the čitih mlinova, mostova, vjetrenjača itd. Ova parachute – Faust Vrančić also invited a great svestranost bila je polazišna točka za izradu number of various mills, bridges, windmills, vizualnog identiteta koji educira posjetitelje etc. His versatility was used as the starting o širini Vrančićevog opusa. point for the visual identiy design educating visitors about the wide scope of Vrančić’s interests.

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Micica

studio Šesnić&Turković dizajn / design Marko Šesnić, Goran Turković ilustracija / illustration Stefano Katunar naručitelj / client Micica, Rovinj 03/2013

Modni dodaci kreativnog dvojca Doris Fatur i Fashion accessories designed by the creative Stefana Katunara iz Rijeke. Vizualni identitet duo composed of Doris Fatur and Stefan Ka- čine prepoznatljive ilustracije, koje su jedan tunar from Rijeka. The visual identity is made od glavnih elemenata nakita Micica, te logotip of distinguishable illustrations as one of the kojem je dodan rep da bi se i vizualno naglasi- main elements of the Micica jewellery together lo značenje samog imena – micica je od milja with the logo with a tail added to visually ac- naziv za mačku. centuate the importance of the brand’s name – micica – or the Croatian word for a small cat.

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18. Sa(n)jam knjige u Istri / The 18th Book Fair(y) in Istria dizajn / design Oleg Šuran suradnici / contributors Mauricio Ferlin (kreativni direktor / creative director), Tanja Draškić Savić (fotografije / photographs) naručitelj / client Udruga sa(n)jam knjige u Istri, Pula 11/2012

Tema 18. pulskog festivala knjiga i autora je The 18th edition of the Festival of books and Mediteran – Bijelo i Crno more. Vizualni iden- authors in Pula was dedicated to the topic The titet građen je oko jakih i kontrastnih boja, Mediterranean – White and Black Sea. The visual sukobljujućih tipografskih pisama i ideje identity emerged from strong contrast colours, ‘mediteranskog bazena’. Realiziran je opsežni contrasting typefaces and the idea about ‘the katalog s omotnim papirom (program festi- Mediterranean Basin’. Promotional materials vala), dvostrani plakat, pozivnice, bookmark, include comprehensive catalogue with a sleeve web sjedište, dvije mape, letci, vrećice, majice (the Festival’s programme), a two-sided poster, i gradski programski panoi. Pomnim odabirom invitations, bookmarks, web host, two maps, papira omogućene su iteracije plakata ovisno bags, T-shirts and city panels. Selection of pa- o vremenskim i gradskim uvjetima: tipograf- per allowed for the poster’s iterations depend- ska strana je za vrijeme kiše propustila boje ing on the weather or other circumstances in slikovne strane; trganje s plakatnog mjesta the city: in the rain the typographic design let otkrivalo je motiv na poleđini; ovisno o količini through the paint from the painted side; tear- svjetla, neki su plakati potamnili. Motiv nogu u ing from the poster spot revealed the motif on lavoru podsjeća na brojne običaje Mediterana: the back; depending on the light, some posters pranje nogu supružniku, pranje nogu mrtvima, got darker. The motif on the poster reminds of ‘toćanje’ nogu u moru. some Mediterranean customs: washing one’s husband’s feet, washing a dead person’s feet or soaking your feet in the sea (‘toćanje’).

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UrbanIxD Summer School

dizajn / design Oleg Šuran suradnik / contributor Ivica Mitrović naručitelj / client UMAS, Odsjek za dizajn vizualnih komunikacija / Department of Visual Communications Design , Split 08/2013

Ljetna škola projekta UrbanIxD održana je 2013. UrbanIxD Summer School was organized in u Splitu. UrbanIxD europski je projekt koji se 2013 in Split. UrbanIxD is an EU-funded project odvija tijekom 2013. i 2014. godine za Europsku that took place during 2013 and 2014 under komisiju u sklopu programa Buduće i novona- the Future and Emerging Technologies pro- stajuće tehnologije. Sudionici iz cijelog svijeta gramme. For eight days participants from all osam su dana radili na projektima istražuju- over the world worked on various projects re- ći temu hibridnih gradova, odnosno urbanih searching the topic of hybrid cities, or urban okoliša sastavljenih od opipljivih i virtualnih environments made of palpable and virtual slojeva. Glavne aplikacije vizualnog identiteta layers. The most important applications of bile su opsežna knjižica, radni prostor (deko- the visual identity comprised a large library, racija i signalizacija), te promotivni materijali working space (decoration and signalization) (kape, majice, platnene torbe). Cilj je bio stvo- and promotional materials (hats, T-shirts, cot- riti ugodnu, ali radnu ljetnu atmosferu škole s ton bags). The aim was to create a pleasant yet ograničenim budžetom. busy summer atmosphere for a school with a limited budget.

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Strpljivo oko / The Patient Eye

dizajn / design Ana Tomić, Marino Krstačić Furić naručitelj / client Muzej moderne i suvremene umjetnosti / Museum of Modern and Contemporary Art, Rijeka 11/2012

Izložba Strpljivo oko predstavila je pejzažnu The exhibition titled Patient Eye showcased fotografiju iz zbirke Muzeja moderne i su- a landscape photograph from the collection vremene umjetnosti u Rijeci. U oblikovanju belonging to the Museum of Modern and Con- materijala za izložbu naglasak je stavljen na ra- temporary Art in Rijeka. The design of materi- zličite dimenzije fotografija, njihovu dinamič- als is focused on various dimensions of photos, nu izmjenu i suodnos s formatom brošure. B1 their dynamic exchange and correlation with plakat reže se na četiri jednaka dijela i dopušta the brochure’s format. A B1 poster is cut into izmjenu kompozicije kod ponovnog slaganja four equal parts allowing for the change of ali i primjenu plakata manjih dimenzija, ako composition with every new setting but also je potrebno. for the use of smaller posters, if necessary.

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Zoom festival

dizajn / design Ana Tomić, Marino Krstačić Furić naručitelj / client Drugo more, Rijeka 09/2013

Zoom festival propituje prostor stvaranja i The Zoom Festival examines the space of cre- interpretira različite pristupe u eksperimen- ation and interprets various approaches in ex- talnim izvedbenim umjetnostima. Identitet perimental performance arts. The Festival’s festivala se poigrava sa percepcijom gledatelja. identity plays with the viewer’s perception.

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Sveučilište Sjever / University North

dizajn / design Mario Tomiša, Damir Bralić, Igor Kuduz, Andro Giunio, Niko Mihaljević suradnici / contributors Nikola Đurek (dizajn pisma / Type Design), Lana Cavar, Sead Alić (konzultanti / consultants) naručitelj / client Sveučilište Sjever, Koprivnica 04/2014

Vizualni identitet Sveučilišta Sjever semantič- The visual identity of the University North, in ki se otklanja od prve asocijacije geografskog terms of semantics, diverges from the first as- sjevera uvjetovanog magnetskim poljem ze- sociation to the geographic north (in Croatian mlje, a u svom crvenom izdanju odmiče se i od ‘sjever’ means ‘the north’)defined by the Earth’s temperaturne hladnoće koju sjever konotira magnetic field. Its red colour is a split from kao i od grbolikih oblikovnih stereotipa osta- cold temperatures usually associated with the lih hrvatskih sveučilišta. S obzirom na svoju north and stereotypical emblematic forms važnost i značaj za sredinu u kojoj niče, novo characteristic for other Croatian universities. sveučilište se oblikovno-značenjski pozicioni- Having in mind that the new university is very ra kroz temu ‘centra’ koja postaje osnov dizajna important and significant for the community ovog entiteta. Sjever (kao imenica) centar je inside of which it emerges, the design focused razmjene znanja, katalizator društvenih i gos- on the topic of ‘centre’. Sjever is the centre for podarskih zbivanja, profesionalne orijentacije the exchange of knowledge, a catalyst for social studenata i definicije struka koje se na Sveuči- and economic change, place of professional lištu podučavaju. Za Sveučilište je oblikovano vocation and definition of careers thought at i korporativno pismo UniN i UniN Sans autora the University. Corporate typefaces UniN and Nikole Đureka. UniN Sans have been deisgned for the Univer- sity by Nikola Đurek

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Dozvoljeno plakatiranje / Posters Allowed

dizajn / design Ivor Tomljanović naručitelj / client HDD / Croatian Designers Association 04/2014

Vizualni identitet izložbe Dozvoljeno plakatira- The visual identity for the exhibition titled nje podsjeća na obavijest službe komunalnog Posters Allowed reminds of a notice issued by redarstva, samo što je u ovom slučaju plakatira- the pubic utility service, only in this particular nje dozvoljeno. Na plakatu i deplijanu otisnuta case posters are allowed. Only the designers’ su samo imena autora te sponzorski logotipi, names and sponsor logotypes were published a na mjestu predviđenom za glavni vizual in- on the poster and the brochure and at the spot terveniralo se ljepljivom trakom s posebno envisaged for the main visual there was an dizajniranim vizualom. Rezultat je tristotinjak intervention with adhesive tape with a visual potpuno različitih deplijana i nekolicina pla- designed especially for this occasion. The re- kata produciranih za samu izložbu. sult is some three hundred entirely different brochures and a few posters produced for the exhibition.

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Mulini Beach

dizajn / design Narcisa Vukojević, Lana Cavar suradnik / contributor Igor Poturić (copywriter) naručitelj / client Maistra, Rovinj 05/2014

Dizajn vizualnog identiteta plaže Mulini Bea- The design of the visual identity for the Mulini ch u Rovinju se prvenstveno odnosi na dizajn Beach in Rovinj is primarily concerned with vizualnih komunikacija uslužnih objekata the design of visual communications for ca- smještenih na plaži te plažne infrastukture, a tering facilities located on the beach together djelomice i na šire turističko područje Monte with beach infrastructure and partially the Mulini (dizajn informacijske karte područja). broader tourist area of Monte Mulini (the de- Dizajn vizualnih komunikacija je slijedio arhi- sign of information map). Visual communica- tektonsko rješenje, osobito središnjeg plažnog tions were designed in line with architectural objekta koji je zamišljen kao gravitacijsko sre- design, especially in case of the central beach dište užeg područja, a temelji se na upotrebi facility or the gravitational field of the area. posebno projektiranog pisma (‘wireframe’ pi- It is based on the use of a typeface designed smo nadahnuto arhitektonskim elementima only for this purpose (‘wireframe’ face inspired konstrukcija nadstrešnice središnjega plažnog by architectural elements of the eave on the objekta) kojim se ispisuju poruke namijenjene central beach facility) and set on messages for korisnicima različitih sadržaja i usluga na plaži. the people using various services offered on the beach.

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Bifora

dizajn / design Željka Županić naručitelj / client Natalija Martinčević, Zagreb 05/2013

Bifora je luksuzni apartman koji se nalazi u sta- Bifora is a luxury suite of rooms inside the old roj palači u samom centru grada Hvara. Palača palace located at the very centre of the town je poznata po prvoj građenoj bifori na otoku, of Hvar. The palace is known for the first bi- a po istoj je apartman i dobio ime. Samo ime fora ever constructed on the island and this Bifora sadrži riječ for, što na lokalnom dijalektu inspired the name of the suite. The very name znači Hvar. Ta igru riječi iskorištena je u komu- Bifora is composed of the word for, which in nikaciji kroz različite materijale. Sam znak je local dialect means Hvar. This play on words izveden iz početnog slova B koje rotirano za has been used for communication in various 90 stupnjeva sugerira oblik bifore. materials. The sign itself was derived from the initial letter B rotated for 90 degrees and suggesting the form of a bifora.

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Bušilica

dizajn / design Željka Županić naručitelj / client Rustam Galiullin, Zagreb 08/2013

Bušilica je samostalna djelatnost majstora koji Bušilica stands for a freelance profession pro- obavlja sve vrste kućanskih popravaka. Većinu viding all kinds of household repairs. In this radnog vremena provede koristeći bušilicu, pa profession drilling is the most frequent activity je shodno tome djelatnost i dobila ime. and this was the reason for naming the business accordingly.

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Željka Županić

dizajn / design Željka Županić suradnik / contributor Igor Manasteriotti samoinicirani rad / self-initiated work 01/2013

Vizualni identitet za freelance grafičku dizajne- A visual identity for a freelance graphic designer. ricu. Znak je napravljen od inicijala Ž Ž. Ideja je The symbol is created from the initials Ž Ž. The komunicirati da kako god okreneš uvijek ispadne idea is to communicate the following message: dobar dizajn. no matter what, you always get good design.

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Rokovnik Cenzura / Cenzura Organizer

studio Atom dizajn Split dizajn / design Lana Gruić Vitas naručitelj / client Cenzura plus, Split 06/2013

Carpe That Crazy Diem je natpis istaknut na Carpe That Crazy Diem is a caption printed on crvenim koricama rokovnika udruge Cenzu- the red covers of the Cenzura Plus Associa- ra Plus za godinu 2013/2014. Ova poruka se tion’s 2013/2014 organizer. The message relates odnosi na percepciju vremena i u izravnoj je to the perception of time directly linked to vezi sa samom namjenom rokovnika. Linije su the very purpose of the organizer. The design uz crvenu i bijelu boju dominantan element is dominated by red and white colours and dizajna, a dio su logotipa udruge. Kod ovakvog lines that also make part of the Association’s proizvoda naglasak je, osim na vizualnoj upe- logotype. The product is not only visually im- čatljivosti, posebno na tehničkoj tiskarskoj pressive but also skilfully made in terms of izvedbi, vrsti papira te doradi proizvoda (vrsta printing quality, selection of paper and bind- uveza), s ciljem dobivanja reprezentativnog i ing because the aim of the technical process upečatljivog promotivnog materijala. was to produce a representative and distinct promotional material.

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Danijel Srdarev — Bestijarij venecijanskih kanala / Bestiarium of the Canals of Venice

studio Bilić_Müller studio dizajn / design Dora Bilić, Tina Müller suradnik / contributor Danijel Srdarev (ilustracija / illustration) naručitelj / client Galerija Kranjčar / Kranjčar Gallery, Zagreb 07/2013

Publikacija je inspirirana fantastičnom ikoni- This publication was inspired by fantastic kom, motivima monstruoznih bića i samim iconicity, motifs of monstrous creatures and nazivima slika iz Serdarevljevog ciklusa Pri- names of the paintings from the Serdarev’s pitomljena zvjerad. Kroz knjigu se provlači 6 cycle titled Tamed Beasts. The book contains 6 zatvorenih duplerica – korice i prvi dio knjige pairs of covers designed as pull-outs – the jack- (predgovor) – koje korisnik mora sam istrgati, et and first part of the book (foreword) with a na kojima su sa unutrašnje strane otisnuti the imprints of details found on the images detalji ‘zvjeradi’. Na bijelim koricama otisnu- of the ‘beasts’. Traces of black ink were later tih knjiga naknadno su naneseni tragovi crne on imprinted on the white covers of already tinte. Promo materijal izložbe čine platnene printed books. Promotional material includes torbe i bedževi od ljepenke na koje su otisnuti cotton bags and cardboard badges with im- motivi slika iz ciklusa. prints of the motifs from the cycle.

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Damir Očko — Studies on Shivering

studio Bilić_Müller studio dizajn / design Dora Bilić, Tina Müller naručitelj / client KM – Halle für Kunst & Medien, Graz 05/2014

Atmosfera izložbe i kolažna struktura mate- The atmosphere at the exhibition and collage rijala (u rasponu od vizualne poezije, kolaža, structure of the materials (ranging from vi- instalacija, scenarija, videa) interpretirana je sual poetry, collages to scenarios and videos) kroz oblikovanje kataloga koji nema statične has been interpreted in the catalogue’s design osnovne elemente naslovnice (ilustraciju i which instead of static basic elements usually naslov), već se oni slaganjem dovršavaju u ti- found on the covers (an illustration and a title) skari. Preciznošću (ili nepreciznošću) sitotiska offers the possibility to finally set them in the postignut je pomak (drhtaj) samog naslova, a printing shop. Precision (or lack of it) of seri- element ilustracije (tanki obostrano otisnut graph print resulted in the shift (a quiver) from umetak) se umeće u pvc ovitak i svaki put the title, whereas the illustrative element (a ostvaruje drugačiju kombinaciju (djelomično thin slip printed on both sides) gets inserted prekriva ili otkriva naslov). in a PVC sleeve every time obtaining a different combination (partially covering or discovering the title).

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Pars pro toto

studio Bilić_Müller studio dizajn / design Dora Bilić, Tina Müller naručitelj / client Galerija Kranjčar / Kranjčar Gallery, Zagreb 12/2012

Katalog skupne izložbe Pars pro toto prošiven The catalogue for the group exhibition titled je tako da se izvana po hrptu iščitava autorski Pars pro toto is stitched in a way that the outer rukopis 10 različitih umjetnika prisutnih na side of the spine reads the handwriting of the izložbi. Preko hrpta je prošiveno 12 duplerica, ten artists exposing their works at the exhibi- s tim da je tekstualni dio izdvojen u ‘koricama’ tion. Twelve two-page spreads are sewn over unutar 2 bijele duplerice, a između se nalazi the spine and the textual part is separated in- preostalih 10 duplerica, po jedna za svakog au- side the ‘jacket’ with 2 white two-page spreads. tora. Odabranim karakterističnim detaljima The remaining 10 two-page spreads are placed na vanjskim stranama duplerica najavljuje se in-between, one for each artist. Every artist novi autor, odnosno njegovi radovi. introduced by distinctive details on the outside of the spread.

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Josip Vaništa — Ukidanje retrospektive / Abolition of Retrospective

studio Bilić_Müller studio dizajn / design Dora Bilić, Tina Müller naručitelj / client MSU / Museum of Contemporary Art, Zagreb 04/2013

Promotivni materijali (anti)retrospektivne Promotional materials for the (anti)retrospec- izložbe Josipa Vanište inspirirani projektom tive exhibition of Josip Vaništa’s works were Misli za mjesec, 1961 – 2013. Producirano je dva- inspired by the project titled Thoughts for the naest bilježnica praznih listova, svaka za jedan Month, 1961 – 2013. Twelve notebooks with mjesec u godini, korica toniranih u monokro- blind papers were produced – one for every matskoj skali od bijele do crne. Osim bilježnica, month of the year – with the covers toned in proizvedeno je i 7 crnih grafitnih olovaka na a monochromatic scale ranging from white to kojima je otisnuta po jedna rečenica iz Vani- black. Seven black graphite pencils go hand štinih Misli za mjesec, ožujak 1964. Učiniti malo. in hand with the notebooks, each bearing a Ne pisati suviše. Ne čitati previše. Ne poduzimati phrase from Vaništa’s Thoughts for the Month, mnogo. Ne poznavati preveliki broj ljudi. Ne spo- March 1964. To do little. Not to write too much. znati suviše. Odbijati bez prestanka. Not to read too much. Not to undertake too much. Not to know too many people. Not to comprehend too much. To reject continuously.

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Radovan Tajder — Arhitektura – arhitekt / Architecture – Architect

studio Bilić_Müller studio dizajn / design Dora Bilić, Tina Müller naručitelj / client MUO / Museum of Arts and Crafts, Zagreb 02/2014

Oblikovanje publikacije inspirirano je izložbe- The design of the publication is inspired by nim konceptom da se uz arhitektonski opus the exhibition concept to showcase both the predstave i autorove brojne bilježnice ispunje- architectural oeuvre and the architects note- ne dnevničkim zapisima, crtežima i skicama. books filled with diary entries, drawings and Taj koncept interpretiran je kroz oblikovanje sketches. That concept has been interpreted uveza i prijelom monografije. Monografski dio in the design of the book’s layout and binding. knjige nalazi se iza klasične tvrde korice, dok The monographic part of the book is situated je na drugoj strani knjige, odvojen iza meke behind the classic hardcovers while a more korice, sadržaj intimnijeg karaktera. Korice intimate content can be found behind the soft knjige presvučene su sivom knjigoveškom covers. The jacket is coated with grey textile tkaninom i otisnute različitim grafičkim mo- with serigraph imprints of the motifs. Both tivima u tehnici sitotiska. Oba motiva Tajde- motifs are Tajder’s s drawings: one is a matrix rovi su crteži, jedan motiv je matrica – grafički or graphic raster used for designing and the raster za projektiranje, a drugi je slobodni crtež other is a felt-tipped pen drawing from one of flomasterom, motiv izvučen iz jedne od mno- Tajder’s many notebooks. gobrojnih bilježnica.

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Ekonomika starenja u Hrvatskoj / Economics of Ageing in Croatia

dizajn / design Želimir Boras suradnica / contributor Tanja Bjelić (fotografije / photographs) naručitelj / client Ekonomski fakultet Sveučilišta u Zagrebu / Faculty of Economics and Business, University of Zagreb 03/2013

Ekonomski fakultet Sveučilišta u Zagrebu u The Faculty of Economics and Business at the suradnji s agencijom Gfk proveo je temeljito University of Zagreb in collaboration with the istraživanje o starenju stanovništva u Hrvat- Gfk agency carried a study about the ageing skoj koje ulazi u najintimnije detalje međuge- population in Croatia discovering some of the neracijskih odnosa. Skraćena verzija rezultata most intimate details related to intergenera- istraživanja je prikazana u ovoj brošuri. Vizual tional relations. The abbreviated version of the umirovljeničkog ormara i mjerne skale na na- research results is presented in this brochure. slovnici dočaravaju do koje mjere je istraživa- The image taken from a retired person’s closet nje temeljito. and measuring scales on the covers further accentuate the comprehensiveness of the study.

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Suzana Marjanić: Kronotop hrvatskoga performansa od Travelera do danas / Chronoscope of the Croatian performance from the Traveler to the present date

dizajn / design Damir Bralić, Lana Grahek, Marko Hrastovec dizajn pisma / type design Nikola Đurek ambalaža / packaging Dario Dević naručitelj / client Udruga Bijeli val, Institut za etnologiju i folkloristiku / Bijeli val Association, Institute of Ethnology and Folklore Research, Zagreb 11/2013

Knjiga je strukturirana naizmjeničnim ritmom The book is structured in an alternating autoričinog teorijskog teksta, bogato raslo- rhythm of the author’s theoretical text, abun- jenog u dvije razine fusnota (referencijalne i dantly stratified in two levels of footnotes opisne) s ekstenzivnim opisima performansa (referential and descriptive) with extensive uz fotografije i 150 intervjua s protagonistima descriptions of individual performances ac- scene. Građa je organizirana kronotopski; u companied by photographs and 150 interviews nadređenom topološkom i diskontinuiranom, with the protagonists of the performance art ugnježđenom vremenskom slijedu. U službi scene. The structure of the text is chronoto- ergonomije čitanja je i doslovna podjela jedne pical; in a superior topological sequence and knjige od preko dvije tisuće stanica na tri toma. a discontinued nested time sequence. For the Kutija je oblikovana kao objedinjeni ‘mega-per- ergonomics of reading, the book containing formans’ umjetnika zastupljenih u knjizi, a slu- over two thousand pages is literally divided ži i kao svojevrsni memento, vizualni indeks. into three volumes. The box is shaped as an integrated ‘mega-performance’ of the artists represented in the book, and also functions as a memento of sorts, a visual index.

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Antologijski arhitektonski vodič Zagreba / The Anthological Architectural Guide of Zagreb

dizajn / design Matea Bronić naručitelj / client UPI2M plus Zagreb 04/2013

Vodič arhitekture Zagreba autora Zlatka Kara- The Anthological Architectural Guide of Za- ča i Alena Žunića predstavlja arhitekturu svih greb by Zlatko Karač and Alen Žunić presents razdoblja, počevši od ranoromaničkih slojeva the architecture from all periods, starting from prve katedrale s kraja 11. stoljeća pa do zgrade the early Romanic layers of the cathedral dat- Biskupske konferencije iz 2011. Dizajnersko ing back to the end of the 11th century to the rješenje prikladnim tipografskim tretmanom Croatian Bishop Conference Building from tipološki kategorizira tekstualne informacije, 2011. The design uses appropriate typographic te preciznim planiranjem mreže omogućava treatment to categorize types of text informa- dinamične kompozicijske odnose koje čine svi tion with a precisely planned network allowing elementi kataloške jedinice. Slijed arhitekton- for dynamic compositional relations made of skih zdanja logično je raspoređen i odvojen all the elements of the catalogue. The sequence preglednim sekcijskim kartama Grada Zagreba of architectural edifices is logically distributed omogućavajući korisniku brzo i lako snalaže- and separated with accessible section maps of nje te pružajući uvid u, kako turističke, tako i the City of Zagreb providing easy and quick stručne informacije o pojedinom arhitekton- insight in both tourist and professional in- skom zdanju. formation about individual architectural constructions.

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Monografija Zaklade Adris / Adris Foundation Monograph

agencija / agency Bruketa&Žinić OM kreativni direktori / creative directors Davor Bruketa, Miran Tomičić art direktor / art director Nebojša Cvetković copywriter Drago Mlakar suradni-k(ci) Zrinka Jugec (account director), Predrag Grubić (glavni urednik), Svjetlana Vukić (account executive senior), Valentina Bugarin (account executive), Radovan Radičević (DTP), Cerovski Print Boutique (tiskara) naručitelj Adris grupa, Rovinj 12/2013

Monografija Zaklade Adris je priča o prepo- The Adris Foundation Monograph is a story znavanju potencijala, sposobnosti da se gleda about recognizing potentials, capabilities to unaprijed i da se prave vrijednosti prepozna- look forward and identify true values at the ju u trenutku dok još nemaju svoj konačan moment when they still lack their final form. oblik. U središtu knjige nalazi se jaje, simbol An egg is placed inside the centre of the book beskrajnog potencijala života koji tek treba as a symbol of endless life potential that still biti oslobođen. waits to be freed.

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Srđan Sandić: S(i)nu bez s(i)nova

dizajn Lana Cavar, Mislav Žugaj naručitelj / client Sandorf, Zagreb 09/2012

Srđan Sandić piše dizajnirano, za čitanje ali i za Srđan Sandić’s writing style is designed both gledanje. Njegov stil pisanja uključuje vizualno for reading and observing. It implies visual in- interveniranje u riječi (križanje, kurzivi, raste- terventions in the words (for example, words zanje riječi i rečenica i sl.) čime je unaprijed or phrases are crossed out or deliberately postavljen okvir za dizajn knjige. Za prijelom stretched out) thus setting the framework for je odabrano monospaced pismo kako bi se u the book’s design. The layout in monospaced pravilnom, matrično organiziranom tekstual- lettering was selected to draw attention to nom bloku naglasile ove autorove intervencije. such intentions in a regular and matrically Korišten je jedan rez, oplemenjen nizom na- organized text block using only one typeface mjernih tipogafskih pogreški. Layout korica ti- refined with a series of intentional typographic pografski je različit od onog u knjižnom bloku. errors. The layout on the covers uses differ- Dizajn naslovnice suvremena je interpretacija ent typography from the one used inside the tipografskih naslovnica begoradskog Nolita iz book. The covers are designed as a contem- 70-ih, koje je sam pisac u jedom od razgovora porary interpretation of typographic covers izdvojio kao ‘lijep dizajn’. published in the 1970’s by the Nolit publishing house from Belgrade which the author of the book on an occasion pointed out as ‘beautifully designed’.

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Katalog paviljona Srbije na 14. bijenalu arhitekture u Veneciji / The Catalogue for the Serbian Pavilion at the 14th edition of the Venice Architectural Biennale

dizajn / design Dario Dević nacrti / blueprints Igor Sladoljev fotografije / photographs Andrea Palašti snimatelj / cameraman Srđan Keča suradnici / contributors Marko Salapura, Zlatko Nikolić, Aleksandar Hrib (kustosi / curators) naručitelji / clients Muzej primenjene umetnosti u Beogradu, Ministarstvo kulture i informisanja Republike Srbije, Udruženje arhitekata Srbije, Beograd 05/2014

Dizajn i prijelom kataloga i deplijana za pred- The design and the layout of the catalogue and stavljanje nastupa Srbije na 14. bijenalu arhi- the brochure for the presentation of Serbia at tekture u Veneciji, autora Marka Salapure, Zlat- the 14th edition of the Venice Architectural ka Nikolića, Aleksandra Hriba, Igora Sladoljeva Biennale designed by Marko Salapura, Zlatko i Jelene Radonjić. Autori su paviljon podijelili Nikolić, Aleksandar Hrib, Igor Sladoljev and na tematski dio 100 Works koji predstavlja po Jelena Radonjić. The curators divided the jedno postignuće arhitekture u Srbiji od 1914. pavillion into two parts: the topical section do 2014., te autorski projekt Museum of the Re- named 100 Works which presented one major volution koji tematizira nikad ostvareni projekt architectural achievement in Serbia for each Muzeja revolucije u Novom Beogradu arhitek- year during the period 1914 – 2014 and the ta Vjenceslava Richtera, a čije derutne podze- project The Museum of the Revolution about mne temelje danas nastanjuje mikrokozmos the unrealized Vjenceslav Richter’s project beskućnika i lutalica. U katalogu, ti su dijelovi in Novi Beograd whose dingy underground kodirani bijelom, odnosno crnom bojom, te foundations are presently inhabited by a mi- predstavljeni trojezično, uz niz znanstvenih crocosm of homeless people and vagabonds. tekstova, nacrta, te reprodukcija fotografija i In the catalogue the two parts are coded in videa Andree Palašti i Srđana Keče. black or white and presented in three languages with a series of scientific texts, blueprints and photographs and videos reproduced by Andrea Palašti and Srđan Keča.

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Device_art 4.012

dizajn / design Dejan Dragosavac Ruta naručitelj / client Kontejner, Zagreb 08/2013

Device_art 4.012 je festivalski katalog udruge device_art 4.012 is a festival catalogue of the Kontejner. Festival se u ovom izdanju bavio Kontejner Association. In this edition the počecima i razvojem robotskih naprava, a ka- Festival focused on the early beginnings and talog je oblikovan poput priručnika. development of robotic devices. In line with that, the catalogue was designed as a handbook.

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Libra libera

dizajn / design Dejan Dragosavac Ruta suradnici / contributors Igor Hofbauer, Mirko Rastić, Dario Dević (ilustracije / illustration) naručitelj / client Autonomna tvornica kulture / Autonomous Culture Factory, Zagreb 2012 – 2014

Libra Libera je časopis za književnost i drugo, Libra Libera is a magazine for literature and pri čemu je ‘drugo’ obično filozofija, sociologija other topics where ‘other topics’ usually imply i srodna područja. U zadnjih nekoliko brojeva philosophy, sociology and related fields. In a časopis se bavi i predstavljanjem radova doma- couple of last issues the magazine often pres- ćih ilustratora (Igora Hofbauera, Rute, Mirka ents the works by domestic illustrators (Igor Rastića i Darija Devića). Hofbauer, Ruta, Mirko Rastić and Dario Dević).

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Up & Underground

dizajn / design Dejan Dragosavac Ruta naručitelj / client Bijeli val, Zagreb 2012-2014

Iz časopisa koji izlazi povremeno Up & Un- Up & Underground started as a magazine with derground je prerastao u ‘dosje o kritičkoj irregular pace of publication to grow into a ‘a teoriji’ i čitanku Subversive Festivala. Kroz dossier on critical theory’ and the Subversive dosta rigidnu osnovnu strukturu s tekstovima Festival’s Reader Digest. The magazine has a poredanim abecednim redom imena autora i rather rigid basic structure with texts listed in unificiranom opremom, paralelno se prepliću alphabetical order of the authors’ last names različiti sadržaji poput galerija na otvaranjima and unified equipment but in parallel with that tekstova i vremenske lente koja se provlači it offers diverse materials such as galleries of cijelim časopisom. photos at the text openings and a timeline throughout the magazine.

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Sanja Iveković: Unknown Heroine – A Reader

dizajn / design Rafaela Dražić naručitelj / client Calvert 22 Foundation London 12/2013

Uzimajući rad Sanje Iveković kao početnu toč- Taking Sanja Iveković’s artwork as a starting ku rasprave o feminizmu danas, ovaj reader point for a discussion about feminism today, okuplja niz eseja uvaženih feministica koje this reader is a collection of essays written su sudjelovale na konferenciji 23% održanoj by prominent feminists who participated in na Royal College of Art u Londonu povodom the conference named 23% held at the Royal izložbe Sanja Iveković: Unknown Heroine (Ca- College of Art in London on the occasion of lvert 22 Gallery i South London Gallery, 2012.). the exhibition titled Sanja Iveković: Unknown Heroine (The Calvert 22 Gallery and The South London Gallery, 2012).

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Širenje horizonta / Widening the Horizon

studio Đukićpavlović dizajn / design Zoran Đukić, Jan Pavlović naručitelj / client UHA / Croatian Architects Association 10/2012

Knjiga Širenje horizonta predstavlja 20 godi- The book titled Širenje horizonta (Widening na urbanizma u Hrvatskoj. Kvadratni motiv Horizons) represents 20 years of urbanism in preuzet iz vizualnog identiteta Sezone ur- Croatia. The square motif was taken from the banizma razrađen je u kompleksan grid koji visual identity of the Season of Urbanism de- omogućava prezentaciju svakog projekta kao veloped into a complex grid allowing for the zasebnog ‘plakata’ uz zadržavanje konzistenci- presentation of every project as an individual je. Konzistencija ali i snažan identitet dobiveni ‘poster’ at the same time maintaining consis- su korištenjem magente kroz cijelu publikaciju tency. Consistency and strong identity were te reljefnom naslovnicom od vakumirane pla- established with the use of magenta in the en- stike iste boje. Reljefna naslovnica interpretira tire publication as well as with a relief cover temu urbanističkog baratanja volumenima. made of vacuumed plastic in the same colour. The relief cover interprets the topic of urban volume treatment.

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Zajedno u Kristu / Together in Christ

dizajn / design Nikola Đurek, Damir Bralić naručitelj / client Hrvatska biskupska konferencija / Croatian Bishops Conference 11/2012

Knjiga o dolasku Pape Benedikta XVI doku- The book describing the Pope Benedict XVI mentira ovaj povijesni događaj na nekoliko ra- visit to Croatia documents this historical zina. Ona je istovremeno skup pozdravnih go- event on several levels. It is simultaneously vora iz kojih se neposredno iščitava povijesni a collection of opening speeches spelling out trenutak i precizna foto-kronologija događaja. this historical moment and a precise pho- Svi oblikovni elementi odabrani su i izrađeni to-chronology of the event. All elements of s najvećom pažnjom i građeni sustavno od the design were selected and made with the ut- temelja naviše. Pismo je originalno, hrvatsko, most attention and systematically constructed izrađen je i poseban lettering, varijacijama pa- from the ground level upward. Typography pira sadržaj je jasno strukturiran, rasklopne is original, Croatian with specially designed stranice sugeriraju svojevrsnu razlomljenu lettering whereas variations of papers add to vremensku lentu. a clear structure and presentation of the content. Open pages of the book suggest a kind of fragmented timeline.

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Damir Fabijanić: U sredinu stvari / In Medias Res

dizajn / design Damir Fabijanić suradnica / contributor Ivana Čukelj samoinicirani rad / self-initiated work 12/2012

Knjiga U sredinu stvari funkcionira kao sa- The book titled U sredinu stvari (In Medias Res) mostalni artefakt-monografija, a ujedno je functions as an autonomous artefact/mono- i katalog istoimene izložbe fotografija istog graph and the catalogue for the exhibition. autora. I knjiga i izložba prikazuju 10 drugači- Both, the book and the exhibition showcase jih projekata konceptualne prirode s osobnim ten different conceptual projects with personal komentarima, a projekt je u cijelosti autorski comments and the project is entirely individu- – od samog koncepta, preko dizajna i fotografija al, from the concept, design and photographs knjige do izložbe i njenog postava. Doslovna in the book to the exhibition and its display. interpretacija naslova U sredinu stvari riješena Literal interpretation of the title (In Medias Res) je smještanjem korica u sredinu knjižnog bloka. is apparent in the central position of the jacket. Ujedno, dio knjige (jedan od 10 konceptualnih At the same time, one part of the book (one of poglavlja) koji sada postaju ‘korice’ se i zove U ten conceptual chapters) becomes ‘the covers’ sredinu stvari. in this case turned into In Medias Res.

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Izvještaj o radu HAVC-a / The Croatian Audiovisual Centre’s Annual Report

studio Flomaster kreativni direktor / creative director Orsat Franković art direktori / art directors Želimir Boras, Ana Pernar naručitelj / client HAVC Zagreb 04/2014

Izvještaj o radu Hrvatskog audiovizualnog cen- The Croatian Audiovisual Centre’s Annual Re- tra prikazuje rezultate proizvodnje audiovizu- port presents the results of audio-visual pro- alnih djela te komplementarnih djelatnosti u duction and other complementary activities 2013. godini. Tipografsko rješenje, najpriklad- in 2013. Typography, the most suitable way niji način prikazivanja numeričkih podataka, to show numerical data and highlighted and izdvajanjem i naglašavanjem ključnih informa- underlined key information allow for a sim- cija omogućuje preglednost i jednostavan uvid ple and insightful overview at the same time u sadržaj, istodobno pretvarajući informaciju turning information into illustrative elements u ilustrativni element publikacije. of the publication.

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Hrvatski filmski magazin / The Croatian Film Magazine

studio Flomaster kreativni direktor / creative director Orsat Franković, art direktori / art directors Želimir Boras, Goran Raukar naručitelj /client HAVC Zagreb 01/2014

Polugodišnji časopis Hrvatskog audiovizual- A biannual magazine of the Croatian Audiovi- nog centra koji donosi pregled hrvatskog filma. sual Centre brings the overview of Croatian film industry.

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Nicole Hewitt: In Time

dizajn / design Damir Gamulin suradnica / contributor Nicole Hewitt naručitelji / clients HFS / Croatian Film Association, Zagreb 12/2013

Knjiga je konačan proizvod autoričinog dok- The book is the end product of the author’s torskog rada na Slade College of Fine Art u doctoral thesis at the Slade College of Fine Londonu. Samo oblikovanje knjige grafička Art in London. The design of the book itself is je razrada i manifestacija razmišljanja i dis- an elaboration and manifestation of the con- kusija iz procesa izrade doktorskog rada koji siderations and discussions that were part of tematizira korištenje različito oblikovanog i the doctoral thesis, whose subject is the use formatiranog tekstualnog sadržaja kao pripre- of differently designed and formatted textual me i upute za rad u drugom mediju – u ovom content as the preparation and instructions slučaju, filma. Sam dizajn knjige, oslobođen for working in other media – in this case, film. akademskih formalnosti koje doktorski rad sa- The design of the book, liberated from the država, igra se s materijalnošću medija knjige, academic formalities of the doctoral thesis, papira i tiskarskim postupcima te ukidanjem plays with the materiality of the medium of margina ukazuje na sve tipografske i struktu- the book, paper and printing procedures and ralne odluke pri formatiranju teksta. with the elimination of margins points to typographic and structural decisions made in the formatting of the text.

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Puti i stezice naše Strahinjščice / The Roads and Pathways of Our Strahinjščica

studio Hamper dizajn / design Tomislav Jurica Kaćunić, Ivana Vučić suradnici / contributors učenici OŠ August Cesarec iz Krapine / students from the August Cesarec elementary school in Krapina (crteži / drawings), Tomislav Jurica Kaćunić (ilustracija / illustration), Ljiljana Borovečki Voska, T.J.Kaćunić (fotografije / photographs), Dijana Klasić (urednica / editor), Petra Šemnički, Marta Curman, Mateja Štokan (tekstovi / texts) naručitelj / client Javna ustanova za upravljanje zaštićenim prirodnim vrijednostima Krapinsko-zagorske županije, Krapina 09/2013

Edukacijski priručnik nastao u suradnji s OŠ The educational handbook is a result of coop- A. Cesarec iz Krapine dio je projekta čiji je cilj eration with the A. Cesarec Elementary School upoznavanje učenika s prirodnim vrijednosti- in Krapina and makes part of the project aimed ma Strahinjščice kroz radionice i terensku na- to educate children about the natural world of stavu. Učenici su stečena znanja o ugroženim Strahinjščica through a series of workshops i zaštićenim biljnjim i životinjskim vrstama and field trips. Students then transposed every- pretočili u likovne i literarne radove. Cilj dizaj- thing they have learnt about the endangered nera bio je prilagoditi sadržaj edukacijskog pri- and protected flora and fauna into literary ručnika djeci kroz slikovitu i razigranu formu and artistic works. Designers’ intention was radne bilježnice. Skladna interferencija crteža to create children-friendly content from the učenika, ilustracija dizajnera i fotografija zajed- educational handbook in the form of a work- no s literarnim radovima učenika i tekstovima book. Well-composed combination of students’ autora gradi zanimljivu priču o prirodi. drawings, designers’ illustrations and photographs along with literary works written by students make for a very interesting story about nature.

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Kvadra 2013

studio Hamper dizajn, art direktor, fotografija / design, art director, photography Ivana Vučić, Tomislav Jurica Kaćunić suradnici Tatjana Bartaković (urednica, autorica tekstova / editor, text author), Domagoj Kunić (fotografija / photography), Željka Burić, asistentica: Ivana Vulić (scenografija na lokacijama / on-location scenography), Marija Matijašec (Iron-i-ja) (obrada fotografija / image processing), Nikola Radeljković (stručni suradnik / expert assistant), Nikola Đurek (dizajn pisma / type design) naručitelj / client Kvadra, Sv. Križ Začretje 01/2013

Cilj kataloga asortimana Kvadrinih proizvoda The catalogue with the line of Kvadra’s prod- za 2013. bio je repozicioniranje Kvadre u svi- ucts for the year 2013 marked the repositioning jesti potrošača u high-premium brend kroz 5 of Kvadra and raising costumers’ awareness prepoznatljivih dizajnerskih proizvoda. Prvi about this high-premium brand through five dio je zamišljen kroz komunikaciju imidža pa distinguishable designer products. The first se njegova struktura bazira na magazinskom part was designed to communicate the image pristupu (intervju s dizajnerima i tekstovi o so that its structure reminds of a magazine proizvodnji) kojima je cilj približiti sofisticira- (interviews with designers and texts about nost kreativnog pristupa kao i sinergiju visoke the production) whose aim is to convey a mes- tehnologije i ručne izrade. Centralni dio je 5 sage about a sophisticated creative approach vodećih Kvadrinih proizvoda prikazanih kroz and the synergy between high technology and 5 različitih priča na 5 različitih lokacija. Cilj je handcrafting. The central part showcases the bio pokazati primjenjivost proizvoda u raznim five Kvadra’s products presented in five differ- interijerskim stilovima (historicistički, indu- ent stories on five different locations. The aim strijski, suvremeni...) i kroz različite namjene was to show the applicability of products in prostora (privatnu, poslovnu, javnu). diverse interior styles (historicism, industrial, contemporary...) and various possible uses of the space (private, business, public).

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re-new 2013 – Conference Proceeding

dizajn / design Hrvoje Hiršl naručitelj / client Re-new digital arts festival, Copenhagen 10/2013

Godišnja konferencija i festival medijske um- The annual re-new media art conference/fes- jetnosti re-new je mjesto okupljanja svih sudi- tival is a meeting point for all those active onika aktivnih na području presjecanja um- in the art-science-technology amalgam. The jetnosti znanosti i tehnologije. Dizajn knjige design of the book is defined by the specific definiran je specifičnim svojstvima tiskarske properties of the printing technology – Print tehnologije – tzv. print on demand (POD) – te je On Demand (POD), and focused on presenting usredotočen na predstavljanje slika i teksta na the text and the images in the most straight- najdirektniji način. Budući da je tehnologija forward way. Since the POD technology is very POD vrlo ograničavajuća, dizajn je usmjeren restrictive, the design focused on exploiting ka iskorištavanju karakterističnih svojstava its intrinsic characteristics and pushing its i pomicanju granica navedene tehnologije. limits. The format was defined by requirement Dimenzije su određene zahtjevima cijene i of price and portability and proportions suit- prenosivosti a ujedno proporcijama koje će able for the e-book. dobro odgovarati elektronskom izdanju knjige.

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Splitska škola filma: 60 godina Kino kluba Split / Split Film School: 60 Years of the Cine Club Split

dizajn / design Hrvoje Hiršl naručitelji / clients Kino klub Split, Hrvatski filmski savez / Cine Club Split, Croatian Film Association 12/2012

Pregled posljednjih 60 godina amaterskog, al- An overview of the past 60 years of amateur, ternativnog, eksperimentalnog filma iNovih alternative, experimental film and The New umjetničkih praksi koje su se odvijale u Kino Artistic Practices that took place at the Cine klubu Split. Arhaična tekstura sa naslovnice Club in Split, Croatia. The vintage texture on monografije insprirana je uzorkom iz arhiv- the cover of the monograph is inspired by the skih mapa koje se nalaze u arhivi Kino kluba motif found in the Cine Club Split archives. Split. Pretežni izgled monografije je baziran The overall look of the monograph is based na kontrastu između vizualnih elemenata iz on the contrast between the past and present prošlosti i sadašnjosti, sugerirajući da ovo nije elements of style, indicating that this is not samo još jedan pregled, nego pokušaj otvaranja just another overview, but an attempt to open prostora dijaloga i interpretacije. the door to dialogue and interpretation.

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The Unreal, Silver-Plated Book / El Libro plateado y real

dizajn / design Hrvoje Hiršl naručitelj / client Departamento de Ficcion, New York 06/2012

Dizajn knjige je definiran specifičnim karak- The design of the book is defined by the spe- teristikama tiskarske tehnologije – Print on cific characteristics of the Print On Demand demand (POD), i fokusiran na prezentiranje tek- (POD) technology and focused on presenting sta i slike na što direktniji naćin. Budući da je the text and the images in the most direct tehnologija POD vrlo ograničavajuća, dizajn je manner. Having in mind that the POD tech- usmjeren ka iskorištavanju karakterističnih nology is very restrictive, the design focused svojstava i pomicanju granica navedene teh- on the use of characteristic features and going nologije. Dimenzije su određene zahtjevima over the limits. The format was defined by the cijene i prenosivosti a ujedno proporcijama requirements such as price and transportabi- koje će dobro odgovarati elektronskom izda- lity as well as the proportions that correspond nju knjige. with the electronic edition of the book.

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Kamizdat

dizajn / design Tina Ivezić ručna izrada ambalaže / hand-made packaging Nadja Maruša Hren urednik / editor Luka Prinčič naručitelj / client Emanat, Ljubljana 05/2014

Serija publikacija za prvi slovenski net.label Ka- A series of publications for the first Slovene mizdat, primarno fokusiran na neotkrivene au- net.label named Kamizdat, primarly focused dio-vizualne umjetnike iz Slovenije. Specifičan on undiscovered audio-visual artists in Slove- vizualni jezik edicije izražen je kroz različite nia. A very specific visual code of the edition is tretmane tipografije u odnosu na ritam teksta. expressed in diverse typographic treatments Ručno izrađene limitirane edicije nastaju u related to the rhythm of the text. Handmade suradnji sa slovenskom knjigoveškom radnjom limited editions are made in collaboration Maruji te urednikom i nositeljem projekta Ka- with the Slovene bookbinding shop Maruji – mizdat, Lukom Prinčičem. and Luka Prinčič who is the editor and head of the Kamizdat project.

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Ki sit ki lačan – o prehrani u Istri / Ki sit ki lačan – On Food in Istria

dizajn / design Tina Ivezić, Mauricio Ferlin urednici / editors Tajana Ujčić, Mauricio Ferlin suradnica / contributor Tanja Draškić Savić (fotografije / photographs) naručitelj / client Koordinacija istarskih muzeja, Arheološki muzej Pula / Coordination of Istrian Museum, Archaeological Museum Pula 07/2012

Popratno izdanje uz izložbu Ki sit ki lačan – o Ki sit ki lačan – On Food in Istria or a special edi- prehrani u Istri Koordinacije istarskih muzeja tion published by the Coordination of Istrian mozaično prenosi tematske cjeline koje su se Museums is a mosaic of thematic units pre- mogle pregledati na izložbi. Publikacija je uko- sented at the exhibition. The covers of the ričena u PVC stolnjake koji pretežno imitiraju publication are made from PVC tablecloths uzorke tradicionalnih stolnjaka. mostly immitating patterns and designs found on traditional tablecloths.

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Davor Sanvincenti — Before the First Light

dizajn / design Ivan Klisurić naručitelj / client Muzej Lapidarium / Lapidarium Museum, Novigrad 06/2012

Katalog izložbe Prije prvog svjetla Davora San- The catalogue for the exhibition named Davor vincentija trag je umjetnikovog bilježenja ‘tre- Sanvincenti: Before the First Light is a vestige nutka prije svitanja’ crno-bijelim polaroidima. of the artist’s attempt to document ‘one mo- Opremom kataloga maksimalno se poštuje ment before the crack of dawn’ with a black prezentirani sadržaj, a sam dizajn stavlja se and white Polaroid camera. The catalogue’s u drugi plan. equipment pays maximum attention to the content presented inside the book with design in the second place.

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Aleksandra Zec

dizajn / design Dejan Kršić naručitelj / client HKD Teatar, Rijeka 04/2014

Publikacija realizirana u sklopu istoimenog A publication realized in the framework of Oli- kazališnog projekta redatelja Olivera Frljića ver Frljić’s theatre project about the murder koji tematizira ubojstvo pripadnika obitelji of the Zec family (Mihajlo, the father, Marija, Zec, oca Mihajla, majke Marije i 12-godišnje the mother and their twelve-year old daughter Aleksandre, koje su u Zagrebu 1991. godine Aleksandra) killed in Zagreb in 1991 by the počinili pripadnici pričuvne postrojbe MUP-a. member of the police reserve forces. Dynami- Dinamika layouta, ponavljanje i umnažanje cs of the layout, repetition and multiplication obično nevidljivih tiskarskih oznaka, reznih i of usually invisible press marks, cutting and pomoćnih linija, ukazuju na kolažni i fragmen- supplementary lines demonstrate an approa- tarni pristup. U oblikovanju su korištena pisma ch based on fragmentation and collage. The Mote Hrvoja Živčića (Typonine) i Film Serif Mar- typography used combines typefaces Mote ka Hrastovca. Korice su tiskane na refleksiv- (designed by Hrvoje Živčić, Typonine) and nom papiru, pa se distorzirano lice čitatelja Film Serif (designed by Marko Hrastovec). The odražava na licu Aleksandre Zec, ponavljajući s covers are printed on reflexive paper so that a Frljićem pitanje ‘kako se stvaranje nacionalne reader’s distorted face reflects on the face of države reflektiralo na živote njezinih građana?’. Aleksandra Zec repeating the question Frljić’s asks: ‘how did the creation of a national state reflect on its citizen’s lives?’.

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Bau net

dizajn / design Igor Kuduz naručitelj / client MSU / Museum of Contemporary Art, Zagreb 11/2012

Dvojezična knjižica čita se s oba kraja, a je- A bilingual booklet which can be read from zična distinkcija naglašava se bojom – crnom, both ends. The linguistic distinction is marked crvenom i bijelom, inače temeljnim bojama with colours: black, red and white, which were Bauhausa. Stil Bauhausa slijede i tipografija i the basic colour of the Bauhaus. The style of minimalistička kompozicija. Oprema knjižice the Bauhaus is also apparent in typography malog formata, kao i izbor papira i uvez proši- and minimalist composition. The small for- venog hrpta, daju dojam ručnog rada. mat booklet’s equipment, choise of paper and seamed spine all evoke the impression of a handcrafted work.

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Julije Klović – najveći minijaturist renesanse / Giulio Clovio – the greatest miniaturist of the Renaissance

dizajn / design Igor Kuduz naručitelj / client Galerija Klovićevi dvori / Klovićevi dvori Gallery, Zagreb 11/2012

Dizajn i prijelom kataloga slijedi organizaciju The catalogue’s design and layout follow the stranice, kompoziciju i tretman tipografije re- organizationof each page, its composition and nesansnih manuskripata. Za razliku od prakse treatment of typography from Renaissance u tekstovima renesanse, floralni uzorci nisu manuscripts. As opposed to the practice used korišteni unutar teksta već samo na stranica- for Renaissance texts, floral ornaments have ma-cezurama. Crna boja korištena je za konti- not been used inside the text but only on page nuirani tekst, a crvena za sve podatke unutar breaks. Black colour was used for the body of margina, dajući im tako ulogu didaskalija. the text, and red for all information inside the margins, giving them the role of stage directions.

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Animafest Zagreb 2014

studio Kuna Zlatica dizajn / design Ana Kunej, Zlatka Salopek ilustracija / illustration Lei Lei suradnik / contributor Slobodan Alavanja Slobich (dtp) naručitelj / client Hulahop, Zagreb 05/2013

Katalog Animafesta bilo je potrebno obliko- The catalogue for Animafest had to be desi- vati kao knjigu u kojoj se lako snaći, u kojoj je gned as a well-organized book with a neat cata- gomila podataka uredno katalogizirana, i koja logue of a whole lot of information at the same odražava vizualni identitet festivala. Najvaž- time reflecting the Festival’s visual identity. nije mjesto dano je ilustraciji kineskog ilus- The central place was given to the illustration tratora i animatora Lei Leia, do te mjere da na by a Chinese illustrator and animator Lei Lei naslovnici uopće nema naslova te su svi podaci in a way that the front cover does not have any sabrani na hrptu i stražnjoj korici. Komadići title. Instead, all relevant information is put ilustracije rasuti su kroz cijelu knjigu i vizualno on the spine and back cover. Pieced of illus- odjekuju kroz programsku tablicu i različite tration are scattered all over the book visually oznake u knjizi. pulsating on the programme table and various other imprints inside the book.

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Monografija Branko Vlahović / Branko Vlahović Monograph

dizajn / design Ana Labudović suradnici / contributors Guido Quien, Darko Schneider (tekst / text), Marija Braut, Decker + Kutić, Eva Kraljević, Damir Žižić (fotografije / photographs) samoinicirani rad / self-initiated work 12/2012

Monografija Branka Vlahovića samoiniciran A monograph dedicated to Branko Vlahović je projekt, a ujedno i prva publikacija koja je is a self-initiated project and the first pub- temeljito obradila život i djelo jednog od važ- lication with a comprehensive overview of nijih predstavnika minimalističke umjetnosti life and work of one of the most important u Hrvatskoj. Grafičko i uredničko rješenje re- representatives of minimalist art in Croatia. zultat je nastojanja da se sav raznolik materi- Graphic design and editing are the result of an jal neujednačene kvalitete svede na izraz koji intention to find the best way to present very odgovara Vlahovićevom duhu, te da se njegova diversified material of changeable quality and priča ispriča što potpunije. to stay true to Vlahović’s spirit in order to tell his story in the most comprehensive manner.

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Dick Swaab: Art is Beauty in the Brain of the Beholder

dizajn / design Niko Mihaljević naručitelj / client Sikkens foundation/ ArtEZ Press (Arnhem, NL) 10/2013

Art is Beauty in The Brain of the Beholder je ti- Art is Beauty in The Brain of the Beholder is a skana verzija kontroverznog predavanja nizo- printed version of a controversial lecture given zemskog neuroznanstvenika Dicka Swaaba o by the Dutch neuroscientist Dick Swaab abo- ulozi ljudskog mozga u percepciji i shvaćanju ut the role of human brain in perception and umjetnosti, pri čemu lirsko i estetsko u umjet- understanding of art. Swab argues that lyrical nosti tumači na posve racionalan i znanstven and aesthetical components of art can be in- način, često povezujući specifičan stil s nekim terpreted in a rational and scientific way, often mentalnim stanjem ili oboljenjem. Grafičko relating a specific style with some mental state oblikovanje publikacije prati Swaabovu znan- or disorder. Graphic design of the publication stvenu suhoparnost i racionalnost, pa su tako follows Swaab’s scientific dryness and rati- temeljni gradivni elementi sadržaja (tekst i onal thought so that the basic construction slika) razdvojeni u dvije zasebne publikacije elements of the content (text and image) are koje potom bivaju uvezane zajedno. Dva su split into two individual publications bound dijela kodirana bojama komplementarnog kon- together in a book. The two books are coded trasta, a kroz cijeli se glavni tekst koristi display with the complementary contrasted colours pismo inače namijenjeno isključivo za uporabu whereas the body of the text is set in a display u većim veličinama, preispitujući tako odnos typeface usually used in larger sizes in order to percepcije i estetike. examine the connection between perception and aesthetics.

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Ingeborg Entrop: Fugue In D (Liberated Silence)

dizajn / design Niko Mihaljević naručitelj / client Dutch Art Institute /ArtEZ Press (Arnhem, NL) 07/2012

Fugue in D (Liberated Silence) je publikacija Fugue in D (Liberated Silence) is a publication by umjetnice Ingeborg Entrop koja dokumen- Ingeborg Entrop, an artist documenting per- tira autoričino osobno putovanje u park Het sonal journey to Het Oord Park (‘the quietest Oord (‘najtiše mjesto u Nizozemskoj’) kroz tri place in the Netherlands’)through three di- jednako zastupljena, ali posve različita tipa sa- verse but equally represented types of content: držaja: autoričina nestrukturirana asocijativna the artists unstructured associative thinking, razmišljanja, transkripte razgovora slučajnih transcripts of conversations between coin- suputnika, te fotografije učinjene u pravilnim cidental passengers and photographs taken intervalima. Dizajn i prijelom naglašavaju line- in regular intervals. Design and layout both arnost putovanja te je cijela publikacija treti- accentuate the linear qualities of the journey rana kao dugačka neprekinuta lenta sadržana and the entire publication has been treated unutar slobodnog omota karakterističnog za as a long uninterrupted line contained inside muzičke partiture, budući da je rad inspiriran a free cover characteristic for musical scores teorijama i idejama Johna Cagea. having in mind that the work was inspired by John Cage’s theories and ideas.

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Ni moda ni doktrina / Neither Fashion nor Doctrine

dizajn / design Lidija Novosel naručitelj / client ULUPUH / The Croatian Association of Artists of Applied Arts, Zagreb 11/2013

Ni moda ni doktrina monografija je Zagrebač- Neither Fashion nor Doctrine is a monograph on ke škole karikature, grupe karikaturista koja the topic of the Zagreb School of Caricature je djelovala od 1964. do 1974. i inovirala me- or a group of caricaturists active in the period dij kroz likovno ekspresivnu, crnohumornu, from 1964 to 1974 who innovated the medi- apsurdnu, subverzivnu karikaturu bez riječi. um by the use of expressive, dark-humoured, Dizajn monografije koloritom, kompozicijom absurd and subversive wordless caricature. i tipografijom korespondira s karakterom ilu- The monograph’s design uses colours, com- stracija, kao i s kontekstom u kojem su objav- position and typography which correspond ljivane – studentskim časopisima i novinama. with the character of illustrations as well as Uredničkom intervencijom predstavljanje po- with the context at the time of their publi- jedinih autora na zanimljiv je i duhovit način shing (student periodicals and newspapers). uglavljeno u svojevrsni glosarij relevantnih The editor’s intervention consists of a clever pojmova. presentation of individual artists in the form of a glossary of relevant terms.

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aBook (artist’s book)

dizajn / design Damir Prizmić, Ivan Klisurić naručitelj / client Galerija Galženica / Galženica Gallery, Velika Gorica 04/2013

Katalog izdan povodom edukativne izložbe The catalogue was published on the occasion Knjiga umjetnika – područje eksperimenta, odr- of an educational exhibition named An Artist’s žane u Galeriji Galženica, okuplja tekstove Book – Field of Experiment held at the Galženica i vizualni materijal prikupljen kao rezultat Gallery. It gathers texts and visual materials mentoriranog praktikuma Kustoske platfor- collected during the mentored exercise named me 2012/2013. Oprema kataloga odražava mi- The Curator Platform 2012/2013. The design of nimalne produkcijske uvjete, a formalno se the catalogue also reflects minimal production referira na neke postupke i strategije korištene conditions and formally refers to some proce- pri stvaranju radova prezentiranih izložbom. dures and strategies used for the creation of works presented at the exhibition.

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Ivan Picelj — grafičke mape / graphic maps

studio Sensus Design Factory dizajn, kreativna i art direkcija / design, creative and art direction Nedjeljko Špoljar dizajnerica / designer Kristina Špoljar naručitelj / client Kabinet grafike HAZU / Department of Prints and Drawings 06/2013

Ivan Picelj – grafičke mape autorica Slavice Ivan Picelj / graphic maps by Slavica Marković Marković i Snježane Pintarić prva je opsež- and Snježana Pintarić is the first comprehensi- na monografija kompletnog opusa Piceljevih ve monograph of the complete Picelj’s graphic grafičkih mapa i serija iz fundusa umjetnikove maps and series borrowed from his family’s obitelji, Kabineta grafike HAZU i Muzeja suvre- collection, the Cabinet of Graphics at the Cro- mene umjetnosti u Zagrebu. atian Academy of Arts and Sciences and the Museum of Contemporary Art in Zagreb.

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Katalog Prostoria 2014. / The Prostoria 2014 Catalogue

studio Sensus Design Factory dizajn, kreativna i art direkcija / design, creative and art direction Nedjeljko Špoljar dizajnerica / designer Kristina Špoljar suradnici / contributors Domagoj Kunić (fotografije / photographs), Tatjana Bartaković (copywriter) naručitelj / client Kvadra/Prostoria 03/2014

Urednički ambiciozno zamišljen i oblikovno The editor’s ambitious concept with carefully minuciozno realiziran katalog za poznatog hr- designed catalogue for a well-known Croatian vatskog proizvođača dizajnerskog namještaja producer of designer’s furniture comprises sadrži cjelokupni aktualni asortiman, informa- the entire line of products, information about cije o tvrtki i dizajnerima, intervju sa suradnici- the company and designers, interviews with ma, podatke o materijalima, kao i precizni, op- collaborators, information about materials sežni indeks s tehničkim podacima i mjerama and a concise index with technical details and elemenata. Katalog je izveden u pet jezičnih dimensions for all elements. The Catalogue is varijanti, pri čemu su od izuzetne važnosti published in five languages with a special fo- bili odabir i pažljiva upotreba odgovarajuće cus on the choice and application of adequate tipografije koja podržava kompletan latinični i typography supporting the whole set of Latin ćirilićni set znakova. Fotografija ima višestruki and Cyrillic characters. The photograph has zadatak – u funkciji je dočaravanja atmosfere a multiple purpose: it is in function of repre- proizvodnog procesa, ističe estetsku kompo- senting the atmosphere of production pro- nentu proizvoda u studijskim snimkama te cess, it accentuates the aesthetic component sugerira mogućnosti aranžiranja kombinacija of products on studio recordings and suggests artikala u simuliranim ambijentima. the possibility to arrange different combinations of furniture in simulated ambiences.

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Nedeljko Dragić — Čovjek i linija / The Man and a Line

dizajn / design Željko Serdarević, Dragan Mileusnić suradnik / contributor Nedeljko Dragić (ilustracija / illustration) naručitelj / client Hrvatski filmski savez, Društvo hrvatskih filmskih redatelja / Croatian Film Association, Croatian Film Directors Guild, Zagreb 03/2014

Monografska studija o djelu filmskog anima- A monographic study of the work of a film tora, karikaturista i autora stripa Nedeljka animator, cartoonist and comic strip artist Dragića. Bogato ilustrirano dvojezično izdanje Nedeljko Dragić. This extensively illustrated uključuje i katalog njegovog rada na području bilingual edition also includes a catalogue of dizajna i ilustracije. U završnom dijelu knji- Dragić’s works in the fields of design and il- ge Dragić intervenira na tekst ispisivanjem lustration. In the final part of the book Dragić vizualnih fusnota u širokom rasponu stilova, overlays the text with visual footnotes in a koristeći asemičko pismo kao poveznu nit. wide range of styles, with asemic writing re- curring as the connecting element.

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Nada Rocco: Moje sirove strasti / My Raw Passion

studio Superstudio29 art direktorica / art director Ira Payer dizajn i ilustracije / design and illustration Iva Hrvatin naručitelj / client Naklada OceanMore 05/2014

Kuharica sirove hrane glumice Nade Rocco, The raw food cookbook by actress Nada Rocco, ili preciznije rečeno niz njezinih zabilješki na or to be more precise – a series of her notes on temu nutricionizma i sirovojelstva, sastoji se the subject of nutritionism and raw foodism, od 80 recepata podijeljenih u 9 namjenskih consists of 80 recipes divided into 9 units. Raw cjelina. Sirovojedski način pripremanja obro- foodism presumes a relatively simple way of ka u osnovi je razmjerno jednostavan i često preparing food and often does not require ac- ne zahtijeva radnje kompliciranije od guljenja, tivities more complicated than peeling, chop- sjeckanja i slaganja, pa dizajn i ilustracije slije- ping and arranging, which is why the design de isti princip. Jednostavan jezik i neposredni and illustrations follow the same principle. ton recepata i autobiografskih tekstova, u ko- The simple language and straightforward jima autorica približava načela sirovojelskog tone of the recipes and autobiographic texts, načina života, posredovani su rukom ispisanim in which the author familiarizes the reader slovima, slobodnopoteznim crtežima i kolaži- with the principles of the raw foodism way ranim fotografijama namirnica. of life, are presented with a hand written text, drawings done in free strokes and collaged photographs of food.

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Vodič otoka Brača / The island of Brač Guide

dizajn / design Marin Šantić samoinicirani rad / self-initiated work 06/2012

Vodič vizualizira sve bitne kulturne točke koje The guide brings all important landmarks that se mogu naći na otoku Braču. Stane u džep, can be found on the island of Brač. It fits a simpatičan je i praktičan, a nakon upotrebe pocket, it is very practical and attractive and postaje suvenir u kojem ostane zapisan kori- after the use it can be a souvenir with personal snikov osobni doživljaj otoka. Prazan prostor impressions written by its user. The empty na stranicama vodiča predviđen je za bilješke pages are provided for notes and drawings, ili crteže, korisne informacije, misli i iskustva. useful information, thoughts and experiences.

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Alain Badiou: Buđenje istorije / The Rebirth of History

dizajn / design Oleg Šuran naručitelj / client Fakultet za medije i komunikacije / Faculty of Media and Communication, Beograd 10/2013

Knjiga Buđenje istorije Alaina Badioua dio je The Rebirth of History by Alain Badiou is a part nove edicije Vreme Trešanja beogradskog Fa- of the new edition named Vreme Trešanja ini- kulteta za medije i komunikacije. Knjiga je tiated by the Faculty of Media and Communi- džepnog formata, a korištena su pisma Miłosz cation in Belgrade. It is a paperback edition (Andrija Mudnić, Luka Reicher i Marko Hrasto- and the text is typeset in Miłosz (by Andrija vec) i Herbert (Marija Juza). Mudnić, Luka Reicher and Marko Hrastovec) and Herbert (by Marija Juza) typefaces.

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Ivica Mitrović: Dizajniranje novih medija / Designing New Media

dizajn / design Oleg Šuran suradnici / contributors Ivica Mitrović, Dejan Kršić naručitelj / client UMAS, Odsjek za dizajn vizualnih komunikacija / Department of Visual Communications Design , Split 11/2012

Knjiga Dizajniranje novih medija, Dizajn i novi Design and New Media – the Croatian Context mediji – hrvatski kontekst (1995 – 2010), autora (1995 – 2010) by Ivica Mitrović is a research in Ivice Mitrovića, predstavlja istraživanje povije- the history of the new media in the context of sti novih medija u kontekstu hrvatske dizajner- the Croatian design scene. The book provides ske scene. Kroz knjigu se proteže vremenska a timeline and a list of the most representative linija s popisom radova reprezentativnih za works for individual developmental phases in pojedine razvojne faze dizajna novih medi- the design of the new media. Footnotes are set ja. Fusnote su okomito postavljene u vanjske vertically on the outside margins to provide margine te kodirane cijan bojom kako bi se easier orientation in the text with numerous omogućilo lakše snalaženje kroz tekst bogat references. Headings on each page have a styl- referencama. Zaglavlje stranica sadržava sti- ized section where web page addresses can lizirano polje za unos adrese web pretraživača. be entered. Many illustrations with various Mnoštvo ilustracija zauzima različite dimen- dimensions and positions within the network zije i pozicije unutar mreže, često prelazeći often pass over to the following page suggest- na iduće stranice sugerirajući kontinuirani ing continuous development of design in the razvoj dizajna u novim medijima. Korištena new media. The typefaces used: Marlene and pisma: Marlene i Typonine Sans (Nikola Đurek, Typonine Sans (by Nikola Đurek, Typonine). Typonine)

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Gejst på dansk

dizajn / design Oleg Šuran, Oleg Morović, Andi Pekica suradnici / contributors Cecilia Brynskov, Martin Brynskov, Danijela Pudar Šoše naručitelj / Client Fazan publishing, Aarhus 11/2012

Gejst på dansk / Polet na danskom je 40 1/2 broj Gejst på dansk / Polet na danskom je 40 1/2 is- časopisa za poeziju Polet u izdanju danske sue of the Polet poetry magazine published by podružnice Fazan izdavaštva. Svaka stranica the Danish subsidiary of the Fazan publish- (slika, tekst, boja i format) tvori jednu pjesmu. ing house. Every page (image, text, colour and Pjesme u ovoj kratkoj zbirci prevedene su na format) makes one poem. Poems in this short danski u sklopu Dansko-istarskog prijateljstva / edition have been translated into Danish in the Det Dansk-Istriske Venskab. Zbirka je otisnuta u framework of the Danish-Istrian Friendship/Det jednoj boji (postupni prijelaz iz indigo u plavu, Dansk-Istriske Venskab. The collection is print- te zelenu boju) na Munken Pure 130 g/m2 papiru. ed in a single colour (graduation from indigo to blue and green) on Munken Pure 130 g/m2 paper.

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Pulski đir: mjesta memorije grada / Pula Walk: Places of Urban Memory

dizajn / design Oleg Šuran fotografije / photographs Tanja Draškić Savić naručitelj / client Sveučilište Jurja Dobrile u Puli 06/2012

Pulski đir – mjesta memorije grada je projekt Pulski đir – mjesta memorije grada is project by studenata 1. godine diplomskog studija Kul- the students of the first year undergraduate ture i turizma (Sveučilište Jurja Dobrile u Puli) studies of Culture and Tourism (The Juraj Do- koji je rezultirao izložbom predmeta i slika iz brila University in Pula) which has resulted in privatnih zbirki građana Pule, koji se odnose the exhibition of various objects and photo- na mjesta izlaska i zabave u Puli od 1950. do graphs from the private collections belonging današnjih dana. Projekt i izložba popraćeni su to the citizens of Pula and showing different opsežnim katalogom. Koricama kataloga pro- places for fun and entertainment in Pula start- teže se fotografija brojnih artefakata sakuplje- ing from the 1950’s up to the present day. The nih za potrebe izložbe. Knjižni blok otisnut je project and the exhibition are followed by a zelenom bojom na žućkastom papiru – zelena comprehensive catalogue. The catalogue’s cov- i žuta su boje grada Pule. ers showcase a photograph of many artefacts collected for the exhibition. The book is printed in green colour on yellowish paper – green and yellow are the colours of the city of Pula.

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20. Verši na šterni / Verses on the Well

dizajn / design Oleg Šuran naručitelj / client Gradska knjižnica Poreč / Poreč City Library 06/2013

Zbirka Verši na šterni (Stihovi na bunaru) sadrži The collection of poems titled Verši na šterni probranu poeziju na čakavštini. Ovaj izdavački (Verses on the Well) comprises selected poetry projekt pokrenuo je 1994. godine Drago Orlić. in the Chakavian dialect. This project has been Dvadeseti svezak zbirke otisnut je u dvije boje: initiated in 1994 by Drago Orlić. The 20th edi- crna (tekst) i zelena (lišće). Korištena su pisma tion of the collection was printed in two co- Comic New Arial (Mišo Komenda i Oleg Šuran) lours: black (text) and green (leaves). The type- i Slagerij (Hrvoje Živčić). faces used: Comic New Arial (by Mišo Komenda and Oleg Šuran) and Slagerij (by Hrvoje Živčić).

visual communications design 217 Pregled Hrvatskog dizajna 1314

Čokolade Bagolo / Bagolo Chocolates

studio Bestias art direktor, ilustracija / art director, illustration Emilija Kalajžić kreativni direktori / creative directors Božidarka Brnas, Tomislav Kraljević naručitelj / client Terina, Zagreb 04/2014

Proizvodi Bagolo ručno su rađeni u malim se- Bagolo products in small series are handmade rijama od belgijske čokolade i drugih biranih from finest Belgium chocolate and other se- sirovina te su i oblikovani s pozornošću. Grafič- lected ingredients and carefully designed. ko oblikovanje ilustrativno prati ideju ručnog Graphic design follows the idea of handcraft- rada kroz ručno iscrtani logotip i ilustracije. ed products with the application of logo and Reinterpretirajući sastojke stavljanjem eleme- other illustrations drawn by hand. Re-inter- nata u isprepletene odnose, dizajn naglašava pretation of ingredients through intertwined kvalitetne sastojke i ideju zaigranosti. Posebna elements resulted in a design that accentuates pozornost na ambalaži je dana samom proiz- the quality of ingredients and the idea of play- vodu – čokolada proviruje kroz perforirani dio, fulness. Packaging is particularly focused on svaka sa svojom posebnošću, dok naljepnice u the product itself, i.e. each kind of chocolate različitim bojama pokazuju zasebno probrane with its specific features appears through the sastojke. perforated part and multi-coloured stickers represent the selected ingredients.

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Rizman

studio Bestias kreativni direktori / creative directors Božidarka Brnas, Tomislav Kraljević naručitelj / client Rizman, Komarna 07/2012

Filozofija brenda Rizman i jednostavna obitelj- Philosophy of the Rizman brand is based in ska tradicionalna proizvodnja maslinovog ulja simple, traditional family production of olive interpretirana je kroz jednostavnu minimali- oil interpreted through a simple minimalist stičku prednju etiketu koja je ujedno i nositelj front label also conveying the brand. brenda.

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Sela Z

agencija / agency Bruketa&Žinić OM kreativni direktor / creative director Miran Tomičić art direktor / art director Ana Baletić suradnik / contributor Radovan Radičević (dtp) naručitelj / client OPG Vukina, Zagorska Sela 01/2014

Sela Z je brend obiteljskog poljoprivrednog Sela Z is the brand of the Vukina family farm gospodarstva Vukina iz Hrvatskog zagorja ko- from Hrvatsko Zagorje, which commissioned jemu je trebalo izraditi vizualni identitet te visual identity and packaging for walnuts pro- pakiranje za orahe koji se proizvode na imanju. duced on the farm.

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Valtida Piccola

agencija / agency Bruketa&Žinić OM kreativni direktori / creative directors Davor Bruketa, Nikola Žinić art direktor i ilustrator / art direction and illustration Nebojša Cvetković suradnici / contributors Vesna Đurašin (production manager), Marko Ostrež (dtp) naručitelj / client Valtida Piccola, Rovinj 01/2013

Dizajn maloga brenda maslinovog ulja iz Ro- Design for a small olive oil brand from Rovinj vinja želi diferencirati proizvod od mnogih aspires to differentiate this product from sličnih na tržištu i istaknuti njegovu karakte- many similar ones on the market accentuat- rističnu komponentu ručne izrade. ing its characteristic handmade component.

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Oleum iupanae

studio Flomaster kreativni direktor / creative director Orsat Franković art direktor / art director Ana Pernar naručitelj / client OPG Daničić Suđurac, Šipan 06/2013

Etiketa je nastala kao jednostavno tipograf- The label is designed as a simple typographic sko rješenje u kojem intervencija na slovu O solution where the intervention on the letter podsjeća na maslinu. Oleum iupanae je ekstra O reminds of an olive. Oleum iupanae is extra djevičansko maslinovo ulje proizvedeno na virgin olive oil produced on the Island of Šipan. otoku Šipanu.

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Šipan

studio Flomaster kreativni direktor / creative director Orsat Franković art direktor / art director Ana Pernar naručitelj / client OPG Daničić Suđurac, Šipan 06/2013

Vinska etiketa za ‘kapitalac’ iz podruma obi- ‘Kapitalac’ iz podruma obitelji Daničić from telji Daničić sa Šipana, najvećeg od Elafita ili the Island of Šipan, the largest island among ‘jelenskih otoka’. the Elaphiti Islands also known as ‘the Deer Archipelago’.

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Cojones: Bend to Transcend

dizajn / design Andro Giunio naručitelj / client Cojones, Zagreb 04/2014

Dizajner i članovi benda samostalno su pro- Members of the band together with the de- ducirali ovitak i kontrolirali sve faze procesa, signer produced the cover and controlled od planiranja formata, rezanja, pripreme sita i all phases of the process, from planning the procesa tiskanja, izrezivanja, biganja i na kraju format, cutting, preparing the silk screen to ručnog šivanja ovitaka za ploče i CD-e koncem. hand-stitching LP and CD covers. Design is in Dizajn je osmišljen kako bi maksimalno ubr- line with the need to maximize the pace of zao i pojednostavio diy produkciju pa je tako simplified diy production so that the cover ovitak za vinil ujedno i ovitak za istoimeni CD for vynil edition is at the same time also the na način da dva ovitka za CD stanu u površi- cover for the CD in a way that two CD covers nu jedne vinilne ploče. Potrebne informacije fit the surface of a gramophone record. All reducirane su samo na ime benda, ime ploče necessary information is reduced to the name i popis pjesama, te su smještene na jednoj pri- of the brand, title of the LP and song list and premi na situ. Tehnikom prekrivanja polovice positioned on a single screen. A specific tech- sita i rotacijom za 180 stupnjeva po dva puta nique of covering one half of the screen and aplicirane su dvije boje, sav tekst i grafika. Ra- rotating it for 180 degrees was used to apply zličite kolorističke kombinacije CD-a tako su two layers of colour, entire text and graphics. tek slučajna posljedica takvog procesa tiska. Various combinations of colours on CD’s are nothing but a random consequence of this printing process.

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Zimsko kuhano vino / Winter Mulled Wine

dizajn / design Romana Kajp account manager Ileana Radojević Fotografija / photography Doris Fatur naručitelj / client Dobra berba d.o.o. Zagreb 12/2013

Kuhano vino je novi proizvod tvrtke Dobra Mulled wine is a new product of the Dobra berba koji dolazi u ambalaži od 3 litre. Zadatak berba company that comes in 3 litre packs. The je bio osmisliti pakiranje koje će biti jednostav- task was to create simple and cost-affordable no i jeftino za proizvodnju, a ujedno se ista- packaging that would stand out among other knuti na policama. Budući da se kuhano vino products. Having in mind that mulled wine is konzumira uglavnom u zimskom razdoblju u consumed mostly during the winter season, naziv je dodan termin ‘zimsko’, a simbolički the new name contains the word ‘winter’ with naglasak je stavljen na pojam topline (ugrijati a symbolic accent put on warmth (to warm blagdansku atmosferu, potaknuti zagrijava- up the holiday season, inspire holiday atmo- nje za blagdane, doček Nove godine, skijanje). sphere, the New Year’s Eve, skiing, etc.). For Time je i vizualno rješenje rezultiralo speci- that reason the visual identity resulted in a fičnim zimskim uzorkom pletenih odjevnih specific winter pattern found on knitted cloth- predmeta koji asociraju na toplinu. Crveno ing and associating warmth. Red wine has the pakiranje dodijeljeno je crnom kuhanom vinu same-coloured packaging whereas white wine dok je za bijelo kuhano vino predviđena bijela has a corresponding white version. varijanta.

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Gloria Maris ambalaža za majice / Gloria Maris t-shirt packaging

studio Marivo kreativni direktor / creative director Marko Jovanovac dizajnerica / design Angela Marija Križanac naručitelj / client Gloria Maris, Osijek 08/2013

Ambalaža za majice za potrebe muzeja podvod- T-shirt packaging for the Gloria Maris Muse- nog svijeta Gloria Maris oslanja se na vizualni um of the Submarine World stems from the identitet, odnosno logotip institucije. Posto- already existing visual identity or the institu- jeći logotip baziran je na školjci nautilusa, ali tion’s logo. The existing logo derives from a sadrži mjeru stilizacije primarnim geometrij- nautilus shell with stylized geometric forms skim formama. Ovo načelo bilo je polazišna and the same principle was used as a starting točka pri oblikovanju ambalaže. Budući da su point for the packaging design. Lower part majice dizajnirane u tri različita modela, na of the packaging contains signs of demarca- donji dio ambalaže smješteno je razlikovno tion for three different T-shirt models. The obilježje. Tlocrtna forma šesterokuta prati form of hexagon is in line with the elementary elementarnost identiteta, a pritom odgovara visual identity at the same time allowing for i na potrebu slaganja i transporta pakiranja. easy folding and transport. A strip of fabric Tekstilna traka koja povezuje i fiksira donju connecting and fixing the lower part of the stranu ambalaže ujedno služi i kao ručka za packaging is also used as a handle. nošenje.

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ekoBrachia

dizajn / design Izvorka Jurić suradnica / contributor Maja Danica Pečanić (fotografije / photographs) naručitelj / client Brachia p.z. Supetar 03/2014

Ekološko ekstra djevičansko maslinovo ulje, The ecological extra virgin olive oil is a special posebna je edicija Brachia linije premium edition of Brachia line of premium olive oils of maslinovih ulja organskog porijekla. Identi- organic origin.The visual identity is based on tet proizvoda bazira se na maksimalno pojed- the utmost simplification of elements relevant nostavljenom prikazu elemenata identiteta for the identity of the Brachia brand with the brenda Brachia korištenjem samo dviju boja useof only two colours apart from the colour – bijele i zelene, uz boju recikliranog eko papira. of recycled paper, i.e. white and green. Illustra- Osnovni element su ilustracije listova masline tion of olive leaves makes the basic element of koje su štancanjem etikete realizirane tako da the label’s design; olive leaves seem to extend ‘izlaze’ iz plošne etikete u prostor i tako postaju from the label thus becoming 3D leaves. The trodimenzionalni listovi. Etiketa je otisnuta label is printed on silk-screen on 100% recycled tehnikom sitotiska na 100% recikliranom papi- paper. Space, otherwise flat labels (2D to 3D), is ru. Prostornost, inače plošne etikete (2D u 3D), especially visible in the shelf when arranging posebno je vidljiva ne polici slaganjem većeg a number of bottles in a series with a multiple broja boca u niz i nizanjem većeg broja listića ‘olives leaves’ that extend into space. koji izlaze u prostor.

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Genos setovi za DNA testiranje / Genos sets for DNA testing

art direkcija, dizajn / art direction, design Izvorka Jurić suradnica / contributor Jelena Gvozdanović (dizajn unutarnjih materijala ambalaže / interior material packaging design), Maja Danica Pečanić (fotografije / photographs) naručitelj / client Genos 10/2013

Genos je prvi privatni DNA laboratorij u ovom Genos is the first privately-owned DNA labora- dijelu Europe koji provodi sve oblike analize tory in this part of Europe handling all types of DNA. Genos setovi za DNA testiranje služe za DNA analyses. The Genos sets for DNA testing samostalno uzimanje uzoraka brisa bukalne are used for individual sampling from buccal sluznice pomoću kolektora koji se nalazi u pa- mucosal smears with the use of a collector in- kiranju. Jedan od osnovnih zahtjeva pakiranja side the packaging. One of the most important ovog proizvoda je čvrsta zaštitna vanjska amba- features of this product is its hard protective laža koja štiti kolektor od oštećenja. Osnovno outside packaging safeguarding the collector pakiranje čvrsta je kartonska cijev kružnog from all damage. The packaging is made of a promjera s mat crnim metalnim fiksnim dnom hard cardboard tube with a fixed black metal i poklopcem. Tuljac sadrži samo informacije base and a cover. The tube contains only the koje su primjenjive na sve proizvode, dok sa- information that apply to all products where- moljepive etikete sadrže nazive i informacije as sticker labels contain the names and other pojedinih DNA setova te kodiraju proizvode relevant information for individual DNA sets. unutar linije bojom i fotografijom. Different colours and photos on sticker labels function as codes for all products in the line.

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Didino maslinovo ulje / Didino olive oil

studio Manasteriotti∞Marić art direktori / art direction Igor Manasteriotti, Mia Marić suradnica / contributor Petra Despot (copywriter) naručitelj Petra Despot – OPG Jemin Vlaho, Zagreb 06/2012

Didino je brend maslinovog ulja iz Tučepa Didino is an olive oil brand from Tučepi. The koji su pokrenule dvije sestre, nastavljajući business was initiated by two sisters continu- maslinarsku tradiciju svog djeda i njegovog ing their grandfather’s tradition of producing maslinika. U čast djeda ulje su nazvale Didino, olive oil from his own olive garden. In hon- a u sentimentalnoj priči o njemu spomenule our of their grandfather they decided to name su velike jutene vreće koje je nosio u berbu the olive oil Didino, and the sentimental story maslina. Te vreće su poslužile kao inspiraci- about him mentions big jute bags he used to ja za ambalažu. Dizajn je otisnut tehnikom carry for olive picking which served as the in- sitotiska na tekstil koji teksturom podsjeća spiration for packaging. The design was prona jutu i šivan je po mjeri boce u oblik jutene duced by means of a silk screen and printed vreće za masline. Na ovaj način ulje u boci je on a textile material with texture similar to dodatno zaštićeno od svjetla, a vrećica se može jute. The material is cut in the form of a bag naknadno koristiti na razne načine. Logotip for collecting olives with dimensions corre- je baziran na didinom štapu za hodanje. Na sponding to a bottle. The bag protects the olive pozadini etikete nalazi se kratka priča o didi i oil inside of the bottle from light and can be njegovom masliniku. re-used in different ways. The logo is based on grandfather’s walking stick. The back of the label contains a short story about grandpa and his olive garden.

visual communications design 229 Pregled Hrvatskog dizajna 1314

Iskrena vina Matković / Matković Sincere Wines

agencija Señor kreativni direktor / creative director Vanja Blumenšajn art direktor / art director Miro Čavar account manager Iva Kaligarić fotografije / photographs Mario Kučera suradnica / contributor Maja Danica Pečanić (fotografije / photographs) naručitelj / client OPG Matković, Orahovica 02/2014

Izazov: Tisuće hrvatskih vinara bore se za mje- Challenge: Thousands of Croatian winemakers sto pod suncem. Kako jedinstveno predstaviti struggle for their place under the sun. How vina Matković imajući na raspolaganju marke- to find a unique way to present the Matkov- tinške alate OPG-a? Razmišljanje: Vina Matko- ić wines with the family farm marketing vić napravljena su s ljubavlju od kvalitetnog tools? Concept: The Matković wines are made grožđa, cjenovno fer i poštena, ne zavaravaju u with love from quality grapes with a fair price komunikaciji. Iskrenost najbolje opisuje na- and without misleading communication. Sin- čin na koji Matkovići pristupaju poslu. Rješe- cerity is the best word for describing the way nje: Iskreno vino. family Matkovići does their business. Solu- tion: Sincere wines.

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Piquentum Brazda

studio Sonda kreativni direktori / creative directors Jelena Šimunović, Anselmo Tumpić, Sean Poropat, dizajn / design Tina Erman, Martina Sirotić, Davorka Tumpić, Zvjezdana Vukić, Aleksandar Živanov administracijska i tehnička podrška / administrative and technical support Irena Kotiga naručitelj / client Vinski podrum Buzet 04/2014

Iako je vino buteljirano 2014. godine, pripreme Although the wine was bottled in 2014, prepa- za izradu etikete sežu još u 2012. sakupljanjem rations for the design of the label started two 200 primjeraka regionalnih novina Glas Istre, years before by collecting some 200 issues of iz naklade otisnute na dan berbe, 21. 09. 2012. the regional newspaper Glas Istre all printed Ovo vino iz istarskog vinograda koji je punih on the day of the harvest – 21 September 2012. 80 godina obrađivan prirodnim metodama, u This wine is the produce of an Istrian vine- potpunosti odražava filozofiju proizvođača da yard using completely natural methods for 80 vino stvaraju vrijeme, prostor i iskrenost te mu years and it reflects the producer’s philosophy nisu potrebni drugi dodaci. Rješenje etikete according to which time, space and sincerity odražava tu istu filozofiju: novine utjelovlju- are sufficient to make a good wine without ju simboliku vremena (dan berbe), prostora any additives. The label communicates the (regionalne novine) te iskrenosti (objektivna same philosophy: newspapers are the sym- novinska informacija). Etiketa je postavljena bol of time (harvesting day), space (regional na način da stupci novinskog teksta grafički newspapers) and sincerity (objective piece of podsjećaju na obrađeni vinograd. news). The label was designed in a way that news columns graphically evoke a plantation of grapevines.

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Lijekovi Edicta Pharm / Edicta Pharm medication

studio Šesnić&Turković dizajn / design Marko Šesnić, Goran Turković naručitelj / client Edicta Pharm Zagreb 09/2013

Edicta Pharm je farmacetuska kompanija koja Edicta Pharm is a pharmaceutical company se bavi prodajom lijekova za bolničko liječe- selling medication for hospitals. The project nje. Zadatak je bio dizajnirati set ambalaža za implied designing different packaging sets lijekove te postaviti grafički sustav u koji se and a graphical system that can be applied on budući proizvodi mogu jednostavno uklopiti. future products as well.

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Kontra

studio Šesnić&Turković dizajn / design Marko Šesnić, Goran Turković naručitelj / client Suha Punta, Primošten 11/2013

Leo Gracin i Vedran Kiriđija spojili su svoja Leo Gracin and Vedran Kiriđija have fused two odlična vina u novo vino pod nazivom Kontra, of their remarkable wines to create a new one pa je tako i novi dizajn etikete kontra klasične named Kontra, which is a Croatian word for etikete. Gdje je inače etiketa, tu je boca, a gdje ‘contrary’. In line with the name of this wine, je inače boca, tu je etiketa. the label is also contrary to classical labels. In place of the label there is the bottle and in place of the bottle there is the label.

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Svaki je svoj / Each is Own

studio Rational International dizajn i kreativna direkcija / design and creative direction Ivorin Vrkaš koncept / concept Ivorin Vrkaš, Bojan Opačak ilustracije / illustration Marina Milanović dodatne ilustracije / additional illustration Tena Kelemen lettering Ivorin Vrkaš, Ana Somek preliminarni dizajn / preliminary design Ana Somek, Matej Bilić, Hrvoje Dominko, Tena Kelemen project management Bojan Opačak konzultant za ambalažu / packaging consultant Ruđer Novak-Mikulić fotografije / photographs Ivorin Vrkaš naručitelj / client Paprenjak 09/2013

Svaki je svoj je pakiranje za specijalnu suve- Svaki je svoj is a special packaging for the sou- nirsku ambalažu Paprenjaka. U suradnji s in- venir edition of Paprenjak. A cardboard box that dustrijskim dizajnerom Ruđerom Novakom can turn into a cardboard plate upon opening Mikulićem osmišljena je kartonska kutija koja of the product was created in collaboration se nakon otvaranja pretvara u kartonski tanjur, with the industrial designer Ruđer Novak-Mi- na taj način ukazujući na trajnost i iskoristivost kulić to demonstrate durability and usability. ambalaže. Dvojezičnost je integrirana u sve Bilingualism is integrated in all informative informativne i ornamentalne elemente kolo- and ornamental elements with a coloristic di- rističkom divizijom elemenata kroz otisak u vision of elements in silver and golden prints. srebrnoj i zlatnoj boji. Unutrašnjost i vanjske Interior parts and outside corners of the pack- niše ambalaže ocrtane su ilustracijama Ma- aging are illustrated by Marina Milanović ac- rine Milanović, po briefu zadanom u obliku cording to the outline given in the rewritten novoosmišljene priče o povijesti Paprenjaka. story about the history of Paprenjak.

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Kuku Baby

dizajn / design Željka Županić ilustracije / illustration Ivana Štrukelj naručitelj / client Kozmo 11/2013

Kuku Baby je nova linija proizvoda namijenjena Kuku Baby is a new line of baby products. De- bebama. Dizajn je vrlo jednostavan i temelji sign is very simple and based in soft circles to se na mekoći kružnice kako bi bio privlačan appeal to the youngest. Trademark is inspired najmlađima. Zaštitni znak je inspiriran pje- by a bubble bath and packaging comes in two nušavom kupkom, a na ambalaži je apliciran colours for easier identification of product u dvije različite boje zbog diferencijacije kate- categories. gorija proizvoda.

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Audree

dizajn / design Nikola Đurek, Marko Hrastovec naručitelj / client Typonine 02/2013

Audree je tipografski sustav s više stotina sti- Audree is a typographic system with several lova. Izbor između 15 različitih oblika serifa, hundred styles. The choice of 15 different dva modela konstrukcije, visokog ili niskog types of serifs, two construction models, kontrasta, i dodavanje stencil ili inline efekta high and low contrast together with stencil rezultiraju jedinstvenim, ekspresivnim va- or in-line effects result in very unique and ex- rijacijama Audree slovnih oblika. Dodavanje pressive variations of Audree characters. The različitih parametara osnovnom slovnom obli- addition of various parameters to the basic ku pruža mogućnost stvaranja vlastite verzi- letterfroms allows for creating one’s own ver- je Audree. Vrijednost nije samo estetska već i sion of Audree. The value is not only aesthet- didaktička – eksperimentiranjem sa serifima, ic but also didactic, i.e. experimenting with konstrukcijom i kontrastima, uči se utjecaj serifs, construction and contrast is a way to tih varijabli na oblik slova. Audree je savršena learn about the influence of those variables kao display tipografija, za naslove u časopisima, on a letterform. Audree is perfect for display logotipove i sustave vizualnih identiteta. typesetting, magazine headings, logotypes and visual identity systems.

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Nocturno

dizajn / design Nikola Đurek naručitelj / client Typonine 9/2013

Nocturno i Nocturno Display, suvremen i op- Nocturno and Nocturno Display – a comprehen- širan sustav tekst i naslovnih fontova, svaki sive contemporary system of text and title obuhvaća 8 stilova. Valovite tamne siluete typefaces, comprising 8 different styles each. slovnih znakova stvaraju umirujuć ali snažan Nocturno, a part of the family optimized for dojam koji učvršćuje riječ neovisno o mjestu text, is undoubtedly a calligraphic typeface. na kojem se pojavljuje. Nocturno, dio obitelji Apart from very high lower case letters, short optimiziran za tekst, nesumnjivo je kaligraf- ascenders and descenders, sloped axis and ski; osim visokih kurenata, kratkih ascendera i medium contrast, Nocturno also has wide and descendera, nakrivljene osi i srednjeg kontra- dense concave slab serifs, with soft, extended sta, sadrži široke i snažne konkavne slab serife, ball terminals and sloped upper serifs (h, k, m). mekane, izdužene kapljične završetke i uko- Open and agile proportions and fluid italic šene gornje serife (h, k, m). Otvorene, spretne make for a very legible text face sufficiently proporcije i tečan kurziv stvaraju izuzetno čit- contrasted to establish a very clear hierarchy. ljivo tekst pismo sa dovoljnim kontrastom za Carefully adjusted styles – Regular, Book, Me- uspostavu jasne hijerarhije. Pažljivo podešeni dium, Bold – allow for harmonic typesetting. stilovi: Regular, Book, Medium, Bold – omogu- Nocturno Display is a powerful, resonant, con- ćavaju harmonično slaganje teksta. Nocturno vincing and highly contrasted typeface with Display, snažan, rezonantan i uvjerljiv, viso- accentuated contrast, very attractive and crisp kog kontrasta, privlačan je i krepak na većim in larger sizes whereas Nocturno displays rigid- veličinama kada je Nocturno tup i nezgrapan. ity and stiffness.

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Mote

dizajn / design Hrvoje Živčić naručitelj / client Typonine 10/2013

Mote je neserifno pismo niskog kontrasta dizaj- Mote is a low-contrast utilitarian sans serif nirano za korištenje u tisku. Nepretenciozan typeface designed mainly for print. This un- izgled s tek nekoliko ekscentričnih detalja na- pretentious look featuring subtle quirks was stao je pod utjecajem grotesknih pisama ranog influenced by neutral gothic and grotesque 20. stoljeća. Kao što je slučaj s većinom pisama designs. As is with most typefaces of this genre, ovog žanra, vrstu kontrasta unutar slova teže Mote’s contrast type is hard to define and not je definirati s obzirom da nije u izravnoj vezi in direct relation with a writing tool. Even s alatom za pisanje. U tom smislu pismo je do though the shapes are almost never repeated neke mjere konstruirano – iako to nikako ne in an identical manner, one could say it is a znači da se oblici doslovno ponavljaju. Napro- constructed typeface. To make the letterforms tiv, slovni oblici su namjerno nacrtani različito harmonious and indulge this typefaces under- baš zato da bi se doimali skladno i simetrično. lying tendency for symmetry, the shapes had Mote je dostupan u šest debljina s pripadaju- to be made different from each other. Mote is ćim kurzivima te opsežnim skupom znakova available in six weights with matching italics od preko 1000 glifova po fontu. and a large character set with more than 1000 glyphs per font.

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Conductor

dizajn / design Hrvoje Živčić samoinicirani rad / self-initiated work 05/2014

Conductor je porodica pisama inspirirana sta- Conductor is a typeface family inspired by rim ZET-ovim oznakama autobusnih i tram- old cast iron signage for bus and tram stops vajskih stanica izvedenih u lijevanom želje- in Zagreb. Through digitalization it was im- zu. Kroz digitalizaciju je bilo bitno ne samo portant to stay true to the original (keep the vjerno prenijeti originalni predložak (njegovu interesting combination of Art Deco skele- specifičnu kombinaciju secesijske konstruk- ton and industrial finishing) but also to make cije pojedinih slova i mašinske izvedbe) nego the typeface more contemporary and useful napraviti određene optičke korekcije, a po- through optical adjustments and creative in- tom i autorske intervencije, ne bi li se pismo terventions. Afore mentioned reasons also led osuvremenilo i postalo upotrebljivo u što više to expansion of the family with new weights situacija. Iz istog su razloga docrtane dodatne – Light, Regular, Medium and Bold with mat- pismovne debljine (Light, Regular, Medium, ching italics. As Conductor is still more of a Bold) i njihovi italici. Kako je Conductor ostao display type, instead of seamlessly blending primarno natpisno pismo, neuobičajena visina with the body text, the unexpected propor- i širina malih verzala umjesto stapanja s kon- tions of small caps give new possibilities for tinuiranim tekstom pruža novu mogućnost emphasis and differentiation of content. naglašavanja i diferencijacije sadržaja.

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5/4 web stranica

agencija / agency Brlog kreativni direktor / creative director Tin Kadoić development Mario Kralj, Mario Lončarić content manager Srđan Laterza naručitelj / client 5/4, Zagreb 06/2013

Peta četvrtina izraz je koji se još u starom The fifth fourth is an expression which was Rimu koristio za one podcijenjene dijelove used as early as in ancient Rome for the unde- životinja, iznutrice, nogice i njuške, kojima se restimated parts of animals such as the offal, prehranjivala sirotinja. Restoran 5/4 te podci- legs and snouts, which were used for nutrition jenjene namirnice pretvara u inovativna jela. by the poor. The restaurant 5/4 turns these Družeći se s ekipom restorana shvatili smo undervalued foodstuffs into innovative dishes. da je čin kuhanja samo manji dio intenzivnog Talking to the restaurant’s staff we realised procesa u kojem kuhari svakodnevno tragaju that cooking is only a lesser part of an intense za najboljim sastojcima vrhunskih proizvođača, daily process through which the chefs look for ne bojeći se zaprljati ruke zemljom. Odlučili top ingredients of top producers, not fearing smo kreirati responzivni website koji odražava to get their hands dirty. We decided to create njihov proces stvaranja, stavljajući naglasak a responsive website which reflects their crea- na istraživanje, a ne na prikaz ‘ušminkanih’ tive process, placing an emphasis on research jela na tanjuru. Odabrali smo teksturu starog rather than on the final presentation of ‘fan- papira, tipografiju sličnu onoj pisaćih strojeva i cy’ dishes on a plate. We opted for old paper nelinearni raspored vizualnih elemenata kako texture, a typography resembling typewriters bismo stvorili dojam dnevnika kulinarskih and nonlinear visual elements to create an im- istraživanja. pression of a diary of cooking explorations. www.petacetvrtina.com www.petacetvrtina.com

dizajn u digitalnim medijima / dizajn interakcija 242 croatian design review 1314

Brokula&Ž

agencija / agency Brlog kreativni direktor / creative director Tin Kadoić development Bruno Babić, Mario Lončarić, Sanja Tubak copywriter Srđan Laterza naručitelj / client Brokula&Ž, Sveti Križ Začretje 04/2013

Brokula&Ž je brend odjeće napravljen od or- Brokula&Ž is a clothing brand made of organic ganski uzgojenih sirovina. Cijela kolekcija s raw materials. The entire collection displays unutarnje strane odjeće nosi poruke maskota messages by the mascots Brokula and Ž (little Brokule i Ž-a (ptičice) koji su i nositelji vizual- birds) on the inside of the garments. The mas- nog identiteta i cjelokupne komunikacije ovog cots are also the carriers of the visual identity ekološki orijentiranog brenda. Stranica nudi and of the entire communication of this en- osnovne informacije o brendu, kolekciji i gdje vironmentally friendly brand. This website se sve može pronaći. provides basic data on the brand, collection and locations of the selling points. www.brokulaz.com www.brokulaz.com

design and digital media / interaction design 243 Pregled Hrvatskog dizajna 1314

O.N.E.

agencija / agency Brlog kreativni direktor / creative director Tin Kadoić development Sanja Tubak, Mario Lončarić naručitelj / client O.N.E. Zagreb 09/2013

O.N.E. je umjetnička organizacija koja kreira O.N.E. is an art organisation which develops projekte na razmeđu izvedbenih umjetnosti i projects at the crossroad between performing multimedije. Web dizajn je inspiriran bojama arts and multimedia. Its web design has been koje igraju važnu ulogu u svim radovima. Izni- inspired by colours which play an important mno fluidna navigacija odražava pokrete plesa- role in all of the works. An extremely fluid ča, a kod klikanja na pojedinačne radove nema navigation reflects the moves of dancers and nepotrebnog učitavanja, što omogućuje da se when clicking on individual works there is cijeli projekt sagleda kao integrirana cjelina. no unnecessary downloading, which makes it possible to see the entire project as an in- www.one-art.hr tegrated unit.

www.one-art.hr

dizajn u digitalnim medijima / dizajn interakcija 244 croatian design review 1314

Responsive Typography with WebRTC

studio Creative Nights Zagreb dizajn / design Marko Dugonjić samoiniciran rad / self-initiated work 10/2012

Pomoću web kamere smještene u kućištu Using a web camera located in the computer računala ili kao vanjski dodatak na monito- housing or as an external device on a compu- ru računala, moguće je prepoznati obrise lica ter’s monitor, it is possible to recognise the korisnika, te ovisno o izračunatoj udaljeno- user’s face contours and, depending on the cal- sti lica od zaslona prilagoditi veličinu teksta. culated distance of the face from the screen, to Upotrebljena tehnologija je WebRTC API, koji adapt the size of the font. The technology used se u originalnoj namjeni koristi za peer-to-peer here is WebRTC API, which is originally used komunikaciju između dva ili više računala, npr. for peer-to-peer communication between two za video chat. Ovaj se koncept može primijeni- or more computers, for example for video ti u situacijama gdje korisnik mijenja položaj chats. This concept can be applied to situati- prilikom upotrebe sučelja, primjerice čitanje ons where users change positions whilst using recepta s interneta prilikom kuhanja. the interface, for example, when reading a recipe from an internet website while cooking. www.webdesign.maratz.com/lab/responsi- vetypography/ www.webdesign.maratz.com/lab/responsi- vetypography/

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Typonine video kolekcija / Typonine video collection

dizajn / design Dario Dević, Hrvoje Živčić naručitelj / client Typonine 05/2014

Kolekcija promotivnih video-spotova za pisma A collection of promotional video clips for the Audree, Nocturno i Identitet hrvatske digitalne type systems Audree, Nocturno and Identitet slovolivnice Typonine nastalih u periodu od of the Croatian digital font foundry Typoni- 2013. – 2014. godine. Tehničke karakteristike ne developed in the period 2013 – 2014. The i ugođaj fontova ilustrirani su kolažiranjem technical features and font impressions are arhivskih materijala, stock snimaka i starih illustrated by creating a collage of archival ma- video-žurnala, uz naknadno dodane vizuale te terials, stock footage and old video journals zvučne i svjetlosne efekte. Spotovi su namjer- with additional visual, sound and light effects. no odmaknuti od elegantne i čiste estetike The clips have been deliberately moved away sličnih promotivnih materijala drugih europ- from an elegant and pure aestheticism of simi- skih slovolivnica kako bi se dodatno naglasio lar promotional materials by other European netipični autorski potpis Nikole Đureka koji font foundries so that an additional emphasis ova pisma svrstava u sam vrh trenutne svjetske is placed on the atypical signature by Nikola produkcije. Đurek which positions these type systems among the very best of the global production. www.vimeo.com/typonine www.vimeo.com/typonine

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mi2

dizajn / design Rafaela Dražić suradnici / contributors Boris Strahija (developer) naručitelj / client Multimedijalni institut / Multimedia Institute, Zagreb 05/2013

Novo web sjedište Multimedijalnog instituta The new website of the Multimedia Institute (Mi2), koji djeluje na polju kulture novih medija, (Mi2), which acts in the cultural field of the istraživanja i implementacije digitalnih tehno- new media, research and implementation of logija, socijalnog aktivizma i kulturnih politika. digital technology, social activism and cultural policies. www.mi2.hr www.mi2.hr

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25fps

dizajn / design Rafaela Dražić suradnici / contributors Mislav Paparella (developer) naručitelj / client 25 FPS Zagreb 08/2012

Festival 25 FPS prikazuje nezavisne i nekomer- The festival 25 FPS presents independent and cijalne filmove koji na inovativan način istražu- non-commercial films which explore the po- ju mogućnosti filmskog jezika, pripovijedanja i ssibilities of film language, narrative and the samoga medija; nastaju na granicama filmskih very medium in an innovative way; these are rodova i žanrova te šire razumijevanje filma created on the margins of film genres and dis- kao umjetnosti. Sučelje web sjedišta koristi seminate the understanding of the film as a responzivan dizajn prilagođen i za mobilnu form of art. The website interface uses a res- verziju. ponsive design adapted to mobile version too. www.25fps.hr www.25fps.hr

dizajn u digitalnim medijima / dizajn interakcija 248 croatian design review 1314

Mobile Sound Gallery

dizajn / design Hrvoje Hiršl suradnik / contributor Tomislav Šabić Bastalec (developer) naručitelj / client Ksenija Ladić, Berlin 02/2013

Mobile Sound Gallery je projekt sound art Mobile Sound Gallery is a project by the sound umjetnice Ksenije Ladić. Cilj projekta je učini- artist Ksenija Ladić. Its goal is to make sound art, ti sound art, soundscape, eksperimentalnu i soundscapes, experimental and electro-acous- elektro-akustičnu glazbu pristupačnijom široj tic music more accessible to a broader audi- publici. Kompozicije će biti prezentirane na ence. The compositions will be presented in jedinstvenoj, posebno dizajniranoj konstruk- a unique and specially designed environment ciji Mobile Sound Galerije koja će biti smje- of the Mobile Sound Gallery that is placed into štena unutar određenog prostora. Lajtmotiv an already given space. The leitmotif of the web stranice je logo projekta koji se sastoji web site is the logo of the project comprised od tipografskog logotipa i tri simbola u formi out of typographic logo and three symbols in tri osnovne vrste zvučnih valova. Navedeni a form of three basic types of sound waves. simboli se koriste kao pregrade a boje kao se- These symbols are used as dividers and their paratori. Uloga web sajta je najava projekta i colours as separators. The role of the website poziv na sudjelovanje naručenih zvučnih ra- is the announcement of the project and the dova. Sajt funkcionira kao teaser za umjetnike open call for commissioned sound pieces. It i potencijalne sponzore. functions as a teaser for artists and potential sponsors. www.mobilesoundgallery.com www.mobilesoundgallery.com

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MOTA – Museum of Transitory Art

dizajn / design Hrvoje Hiršl developer Tomislav Šabić-Bastalec naručitelj / client MOTA – Museum of Transitory Art, Ljubljana 05/2014

MOTA je multidisciplinarna platforma posve- MOTA is a multidisciplinary platform dedica- ćena istraživanju, proizvodnji i predstavljanju ted to research, production and presentation prijelaznih, eksperimentalnih i izvedbenih of transitional, experimental and performing umjetnosti. Web je morao zadovoljiti kriterije arts. The website was designed to meet the kompleksne strukture te ponuditi mogućnost criteria of a complex structure and present predstavljanja raznolikoga sadržaja na što di- diverse content in a direct and clear manner. rektniji i jasniji način. Ujedno, osnovni dizajn In addition to this, the main design is to serve kasnije bi trebao poslužiti kao osnova za cijeli later as the basis for an entire array of sub-pro- niz podprojekata u organizaciji MOTA-e te ih jects organised by MOTA, which should unite vizualno objediniti kao sestrinske projekte u them visually as sister projects under the um- kojima je MOTA krovna institucija. brella institution MOTA. www.motamuseum.com www.motamuseum.com www.motamuseum.org www.motamuseum.org

dizajn u digitalnim medijima / dizajn interakcija 250 croatian design review 1314

BabyBoard

studio Marivo, Osijek dizajn / design Marko Jovanovac samoiniciran rad / self-initiated work 12/2013

Didaktička aplikacija stvorena u timu dječjih This didactic application, developed with the psihologa, roditelja te same djece, a s ciljem assistance of a team of child psychologists, pa- pravilnog poticajnog razvoja kognitivnih spo- rents and children, aims at fostering cognitive sobnosti djece u specifično određenim dobnim development in children of specific age. Baby skupinama. Baby Board upoznaje dijete s bazič- Board helps the child get acquainted with ba- nim geometrijskim formama putem obojanih sic geometrical forms using coloured wooden drvenih oblika i time potiče razvoj osjećaja za shapes, hence stimulating the development of prostornu orijentaciju. spatial orientation. www.babyboardgame.com www.babyboardgame.com

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Flaster

dizajn / design Elvis Mehmedović, Vedran Židanik, Martina Nemčić developer Tomislav Grbin naručitelj / client samoiniciran rad / self-initiated work 05/2013

Flaster je platforma za hiperlokalno izvješta- Flaster (Adhesive Bandage) is a platform for vanje koja omogućava građanima da pomoću hyperlocal reporting which allows citizens mobilne aplikacije jednostavno identificira- to identify sore spots in a town or a street by ju bolna mjesta u gradu ili ulici, te predlože using a mobile application. In addition to this, rješenje problema. Informacije i prijedlozi s they can suggest a possible problem solution. aplikacije generiraju se na Flasterovom inter- Information and suggestions from the appli- netskom portalu, a s obzirom na mogućnost cation are generated on the Flaster portal and, komentiranja, Flaster postaje i platforma za given the comments option, Flaster hence be- javnu diskusiju. comes a public forum. www.flaster.hr www.flaster.hr

dizajn u digitalnim medijima / dizajn interakcija 252 croatian design review 1314

Common Grounds, Common Practices

dizajn / design Niko Mihaljević naručitelj / client Werkplaats Typografie i Stedelijk Museum Amsterdam 03/2014

Elektroničke pozivnice za seriju predavanja E-invitations for a series of lectures organised u organizaciji studija Werkplaats Typogra- by the studio Werkplaats Typografie and the fie i Stedelijk muzeja u Amsterdamu koja se Stedelijk Museum in Amsterdam, which looked bavila odnosom grafičkog dizajna i srodnih into the relationship between graphic design disciplina, pretežno suvremene i konceptu- and associated disciplines, mostly in contem- alne umjetnosti. Svaka od tri elektroničke porary and conceptual arts. Each of the three pozivnice zamišljena je uzevši u obzir gostu- e-invitations is envisaged bearing in mind guest juće predavače i kontekst njihova rada – prva lecturers and the context of their work – the tako pretjerano naglašava povezanost dvojice first one overly underscores the connection predavača doslovno miješajući njihove indivi- between the two lecturers by literally mixing dualne radove i osobnosti; druga se referira na their individual work and personalities; the grafički jezik i autobiografski pristup prisutne second one refers to the graphic language and umjetnice kroz dizajnerovu uporabu vlastitih autobiographic approach of the artist through nasumičnih objekata sa radnog stola; treća ani- the designer’s use of own random items from mira arhivsku fotografiju na više načina ukazu- the desktop; the third one animates archival jući na nastojanje predavanja da kroz razgovor photography in multiple ways, pointing to the animira ideje stare nekoliko desetljeća. intention of the lecture to animate several decades old ideas through conversation. www.nikomihaljevic.com www.nikomihaljevic.com

design and digital media / interaction design 253 Pregled Hrvatskog dizajna 1314

Virtualni muzej Dotrščina / Virtual Museum Dotrščina

dizajn / design Niko Mihaljević, Petra Milički naručitelj / client Dokumenta – centar za suočavanje s prošlošću / Center for Dealing with the Past, Zagreb 08/2012

Virtualni muzej Dotrščina autorski je pro- The virtual museum Dotrščina is a project la- jekt Saše Šimprage koji se provodi u okvi- unched in 2012 by Saša Šimpraga, carried out ru Documente – Centra za suočavanje s in the framework of Documenta – Centre for prošlošću, a pokrenut je 2012. godine. Pro- Dealing with the Past. The project themati- jekt tematizira spomen park Dotrščinu, naj- ses the memorial park Dotrščina, the largest veći zagrebački gradski park i mjesto naj- city park in Zagreb, the location of one of the masovnijeg zločina u povijesti Zagreba, gdje most horrific mass crimes in the history of je tijekom fašističke okupacije od 1941. do Zagreb where thousands of citizens were ki- 1945. godine ubijeno tisuće građana. Dio inte- lled in the period from 1941 to 1945 during raktivne web stranice muzeja koncipiran je kao the fascist regime. A part of the interactive digitalni spomenik žrtvama. Njegova statičnost website of the museum has been envisaged as kontrastira drugom dijelu Virtualnog muzeja a digital memorial dedicated to all the victims. posvećenom arhivskoj i novonastaloj građi mu- Its static is in contrast with the other part of zeja, organiziranoj u zasebne cjeline. the virtual museum dedicated to the archival and new material of the museum organised www.dotrscina.hr in separate units.

www.dotrscina.hr

dizajn u digitalnim medijima / dizajn interakcija 254 croatian design review 1314

Mjestimice svjetlo / Interspersed Light

dizajn / design Petra Milički, Katarina Zlatec naručitelj / client Mjestimice svjetlo, Zagreb 05/2014

Interdisciplinarni umjetnički projekt Mje- The interdisciplinary art project Interspersed stimice svjetlo predstavlja nove perspektive Light (Mjestimice svjetlo) presents new perspe- promišljanja neiskorištenih javnih prostora i ctives on the rethinking of unused public spa- stavlja naglasak na propitivanje problema ur- ces and places an emphasis on the problem banog razvoja određenog dijela grada. Kroz of urban development of specific parts of a privremene umjetničke instalacije i interdis- town. Using temporary art installations and ciplinarne projekte koji svjetlo koriste kao interdisciplinary projects which use light as primarni umjetnički medij, naglašavaju se i the primary art medium, urban problems are ‘osvjetljavaju’ urbani problemi te se ukazuje put under a ‘spotlight’ and the potential of na potencijal gradskih lokacija odabranih u urban locations selected in collaboration with suradnji sa stanovnicima gradske četvrti. Dvije citizens of the area is underlined. Two most najvažnije linije ovog projekta su svjetlo i pro- significant threads of this project are light and stor kojem je ono potrebno pa je jednostavnom space in need of the light so by using simple analogijom proces (web) pretraživanja postao analogy the process of (web) browsing beco- proces osvjetljavanja. mes the process of enlightenment.

www.mjestimice-svjetlo.org www.mjestimice-svjetlo.org

design and digital media / interaction design 255 Pregled Hrvatskog dizajna 1314

Grupa Products web shop

studio No42 Zagreb account manager Marko Lokas development Mislav Ružić, Davor Teskera, Zoran Šteković art direktor / art director Ana Labudović suradnik / contributor Jakov Vilović (copywriter) naručitelj / client Grupa studio 03/2014

Zadatak je bio novom web stranicom predsta- The task was to use the newly set up website viti novi brend Grupa Products te uspostaviti to present the new brand Grupa Products and učinkovit prodajni kanal nad kojim klijent ima to establish an effective sales channel fully potpunu kontrolu i koji se ne veže na treće controlled by the client and not linked to third strane. Zbog posebnosti određenih proizvoda parties. Due to the particularities of specific omogućeno je konfiguriranje istih od strane products, configuration of these by users and korisnika, te kupnja bilo koje od konfiguracija. the purchase of any of such configurations have been provided for. www.grupaproducts.com www.grupaproducts.com

dizajn u digitalnim medijima / dizajn interakcija 256 croatian design review 1314

Baunet

studio Revolucija art direktor / art director Vladimir Končar development Dino Trojak, Zlatko Mašek naručitelj / client MSU / Museum of Contemporary Art, Zagreb 04/2014

Responzivna stranica međunarodnog istraži- A responsive webpage of the international re- vačkog i izložbenog projekta BauNet ima za search and exhibition project BauNet aims at cilj cjelovito istražiti i prezentirati djelovanje a comprehensive research and presentation umjetnika iz regije koji su se školovali na zna- of the artists from the region who received menitoj međunarodnoj školi za arhitekturu, their education at the renowned international dizajn i vizualne umjetnosti Bauhaus, a dolaze school of architecture, design and visual arts iz Hrvatske. Projekt prati koncepte i pedagoš- Bauhaus and who are originally Croatian. The ke metode rada škole Bauhaus od osnivanja project explores the concepts and pedagogical 1919. do zatvaranja 1933. i utjecaj koji je izvršila methods of work of Bauhaus from its incepti- na poslijeratnu suvremenu umjetnost, dizajn on in 1919 to its closing in 1933 and the impact i arhitekturu. it exerted on the post-war contemporary art, design and architecture. www.baunet-info.com www.baunet-info.com

design and digital media / interaction design 257 Pregled Hrvatskog dizajna 1314

Interaktivna instalacija Čarobno zrcalo

studio Revolucija kreativni direktor / creative director Vladimir Končar suautori / co-authors Gorjan Agačević, Ozren Crnogorac Ana Kovačić (ilustracija / illustration), Saša Budimir (3d animator), Goran Stojnić, Dragana Lucija Ratković Aydemir, Nada Kujundžić (stručni suradnici / expert assistants), Vjeran Šalomon (kompozitor / composer), Karlo Eldić (developer), Aleksandar Cvjetković ‘Kajo’ (glas / voice), Vedran Kasap, Ivana Fabrio (produkt dizajn / product design), Selma Kanazir (tekst / text) naručitelj / client TZ Grada Ogulina / Ogulin Tourist Board 12/2013

Interaktivna instalacija napravljena u sklopu This interactive installation was designed as stalnog postava centra za posjetitelje Ivanine a part of the permanent exhibition of the vi- kuće bajke u Ogulinu. Ulaskom u prostor, sen- sitors’ centre ‘Ivana’s House of Fairy Tales’ in zor pokreta detektira posjetitelja i pokreće Ogulin. When entering the premises, move- scenarij s nizom pažljivo režiranih interakcija. ment sensor detects the visitor and launches Posjetitelja se fotografira i generira se njegov a scenario with a number of carefully directed virtualni lik. Računalo prepoznaje boju odjeće interactions. The visitor’s photo is taken and posjetitelja te na taj način bira i boje njegovog his/her virtual character is generated. The avatara. Nakon generiranja lika, domaćin Bje- computer recognises the colour of the visi- somar otkriva posjetitelju koja je njegova ‘skri- tor’s clothes and thus selects the colours for vena čarobna moć’. Generirani lik sprema se u his/her avatar. After the character has been bazu te se na naplatnom pultu može zatražiti generated, the host Bjesomar reveals to the ispis na razglednicu za uspomenu. visitor ‘his/her secret magic power’. The character generated is stored in the database and a printout version as a memory postcard can be received at the pay desk.

dizajn u digitalnim medijima / dizajn interakcija 258 croatian design review 1314

Iće & Piće

studio Revolucija dizajn / design Vladimir Končar developer Davor Bagarić fotografija / photography Damir Fabijanić naručitelj / client Damir Fabijanić, Zagreb 05/2014

Responzivna stranica tromjesečnika za kultu- A responsive webpage of a quarterly food and ru stola Iće&piće. Prikaz na svim tehnološkim drinks magazine Iće&piće. Its display on all te- platformama u prvi plan stavlja kvalitetan sa- chnological platforms reveals quality content držaj i atraktivne fotografije tiskanog izdanja and attractive photos of the printed edition časopisa. Ovisno o temi aktualnog broja, stra- of the magazine. Depending on the current nica kompletno mijenja akcentnu boju. issue’s theme, the page entirely changes its accent colour. www.iceipice.hr www.iceipice.hr

design and digital media / interaction design 259 Pregled Hrvatskog dizajna 1314

60. Pula film festival, obilježavanje obljetnice festivala / 60th Pula Film Festival, celebrating the festival’s anniversary

studio Sonda kreativni direktori / creative directors Jelena Šimunović, Anselmo Tumpić, Sean Poropat dizajn / design Tina Erman, Davorka Tumpić, Zvjezdana Vukić, Aleksandar Živanov administracijska i tehnička podrška / administration and technical support Irena Kotiga suradnici / contributors Mirko Trkulja (elektronska aplikacija), Domagoj Kunić (fotografija / photography), Zoran Mikletić, Goran Škofić i Dina Rončević (film), Nenad Kraljić (animacija / animation), Višen Slamar (izvedba kutije / box construction) naručitelj / client Pula film festival 03/2013

Za potrebe kampanje šezdesetog rođenda- A festivity box containing a virtual electronic na pulskog filmskog festivala dizajnirana je cake and lit candles that could be blown out festivalska slavljenička kutija s virtualnom was designed for the purpose of rolling out a elektronskom tortom i svjećicama koje se campaign on the occasion of the sixtieth an- gase prilikom puhanja u njih. Kutija je puto- niversary of the Pula Film Festival. Between vala Hrvatskom i od ožujka do srpnja obišla May and July the box travelled across Croatia 5 hrvatskih gradova te bila postavljena na 15 and visited 5 Croatian cities, and was exhibited lokacija. Sve su se fotografirane želje mogle on 15 locations. All photographed wishes were razgledavati na web stranici pulskog festivala made available on the website of the Pula Film Zaželi i birati najbolje, a želje su se mogle i dije- Festival under the name Make a Wish and the liti s dragim ljudima. Ukupno je fotografirano possibility was provided to select the best, as preko 10.000 ljudi te su želje ovjekovječene u well as to share them with the dearest. More promotivnoj kampanji. than 10 000 people were photographed in total, and these wishes have been recorded in a promotional campaign.

dizajn u digitalnim medijima / dizajn interakcija 260 croatian design review 1314

Na konju smo

dizajn / design Oleg Šuran, Oleg Morović suradnik / contributor Andi Pekica samoinicirani rad / self-initiated work 01/2014

Nakonjusmo.net je radna platforma, arhiva ra- Nakonjusmo.net is a working platform, an ar- dova i web-portal. Na njemu se može naći: po- chive of works and a web portal. It contains: ezija, dizajnerski i glazbeni uradci, knjige, kritički poetry, design and music work, books, critical osvrti, najave, intervjui, itd. Članci se ne vode reviews, announcements, interviews etc. The ar- danom objave, već se objavljuju na dan kada je ticles are not recorded as per the date of their projekt o kojemu se govori završen ili započet. publishing but the day when the project in Ažuriranje se obavlja po istoj logici. Dio web question is finished or initiated. Updating is sjedišta je privatno i koristi se za komunikaciju carried out following the same reasoning. A s klijentima, te pri završetku projekta postaje part of website is private and is used for com- javnim. Autori web sjedišta zauzimaju višestru- munication with clients, which becomes puke uloge: pišu sve najave i članke, spremaju blic upon the end of the project. The authors vizualne materijale, vode intervjue, uređuju of the website have multiple roles: they write i održavaju sjedište, itd. all announcements and articles, store visual materials, conduct interviews, manage and www.nakonjusmo.net maintain the website etc.

www.nakonjusmo.net

design and digital media / interaction design 261 Pregled Hrvatskog dizajna 1314

Dobri buvljak

studio Web burza art direktor / art director Marko Kršul voditelji projekta / project leaders Vanja Bertalan, Ivana Tomić developer Marin Crnković front-end development Matija Turčin, Branko Kolesarić samoiniciran rad / self-initiated work 10/2012

Humanitarni projekt na Facebooku putem ko- A humanitarian Facebook project through jeg se mogu donirati kvalitetni ali donatorima which quality items, potentially redundant suvišni predmeti. Kupac predmeta uplaćuje to donors, can be donated. The buyer of the novac udruzi po vlastitom izboru. Projekt, pod item pays the donation to the association as nazivom Dobribuvljak.com, izradu web sjedišta per own choice. The project, entitled Dobri- u web.burzi osvojio je na natječaju InspirAkcija. buvljak.com, won the competition InspirAk- Glavni korisnički scenariji – doniranje i kupo- cija and was awarded the development of the vanje te prezentacija raspoloživih proizvoda website at web.burza. The main user scenarios – detaljno su razrađeni i potpuno pojednostav- – donation and purchase activities, as well as ljeni na sučelju. Dobri duh buvljaka reprezen- the presentation of available products – have tiran je maskotom projekta – buhom Boško i been dealt with in detail and have been fully njegovim porukama. Kako bi aktivnosti bile simplified on the user interface. The spirit of transparentne u footeru se prikazuju ažurne the flea market has been represented by the informacije o broju prikupljenih kuna, broju project mascot – flea Boško and his messa- donatora, kupaca i doniranih predmeta. ges. To be fully transparent, the activities are displayed in footer as updated information on www.dobribuvljak.com the number of kunas raised, donors, buyers and donated items.

www.dobribuvljak.com

dizajn u digitalnim medijima / dizajn interakcija 262 croatian design review 1314

Coolinarika Responsive + Coolerica

studio Web burza voditelj projekta / project leader Vanja Bertalan dizajn / design Slavko Janjić, Marko Lokas development Matija Turčin, Branko Kolesarić, Dalibor Karlović flash i interakcije / flash & interaction Stjepan Prelec naručitelj / client Podravka Koprivnica 09/2012 (Coolerica), 06/2013 (Coolinarika)

Coolinarika Responsive omogućava optimalno Coolinarika Responsive provides an optimum korisničko iskustvo svim posjetiteljima, bez user experience to all visitors, irrespective obzira na to koji tip uređaja ili rezoluciju kori- of the type of device or resolution used. The ste. Fokus je na vizualnoj čistoći, eliminiranju emphasis is placed on visual clarity, elimina- svih nepotrebnih informacija i brzini učitava- tion of all unnecessary information and the nja, kako bi najvažnije informacije bile lako i speed of entering the information so that brzo dostupne i pregledne. Coolerica redefinira those most relevant are easily and speedily pojam klasične tiskane kuharice i daje joj pot- accessible and clear. Coolerica redefines the puno novi, personalizirani karakter u okvi- concept of a classic cookbook giving it a fully ru projekta Coolinarika. Coolerice se uređuju new personalized character in the project putem online aplikacije kroz koju se odabire Coolinarika. Coolericas are edited through an vrsta uveza, uređuje naslovnica, unosi posve- online application where you can pick among ta, biraju recepti i uređuje njihov prijelom po various types of bindings, you can edit the co- stranicama. ver, enter a dedication, choose recipes and edit their layout. www.coolinarika.com www.coolinarika.com/coolerice/dobrodosli www.coolinarika.com www.coolinarika.com/coolerice/dobrodosli

design and digital media / interaction design 263 Pregled Hrvatskog dizajna 1314

Industrijski / produkt dizajn 264 croatian design review 1314

industrial / product design 265 Pregled Hrvatskog dizajna 1314

Walligami

studio Bioinventa Zagreb dizajn / design Domagoj Šarić suradnici / contributors Tanja Katić Sviličić, Andro Giunio, Petar Mudnić Cerineo samoinicirani rad / self-initiated work 01/2014

Walligami je tekstilna zidna posuda za biljke Walligami is a fabric plant container for walls koja se oblikuje tehnikom origamija iz kva- shaped from a square piece consisting of two dratnog komada sastavljenog od dvije vrste kinds of textile folded in the origami tech- tekstila. Prateći dobivene upute slaganjem nique. Following the instructions, the user se formira posuda nepravilnog šesterokuta forms an irregular hexagon-shaped container s džepom na prednjoj strani, u koju se potom with a pocket on the front side, where soil is stavlja zemlja s biljkama. Stražnja strana poput together with plants. At the rear side of sude sadrži nosač za vješanje posude na zid ili the container there is a holder for hanging bilo koju vertikalnu plohu. Materijali su izvr- the container on the wall or some other ver- snih tehnoloških karakteristika i otporni su tical surface. The materials have outstanding na vremenske uvjete što omogućava vješanje technological features and are weather-resi- posude na unutarnjim ili vanjskim vertikalnim stant, which allows for fixing the container plohama. Inovativna komponenta je indikator on indoor or outdoor vertical surfaces. The apliciran na posudi u obliku kantice za zalije- innovative component is an indicator in the vanje. Indikator (kantica) se pojavljuje kad je shape of a watering can applied on the conta- zemlja suha, a nestaje u doticaju s vodom. iner. The indicator (the watering can) appears when the soil is dry, and it disappears when exposed to water.

Industrijski / produkt dizajn 266 croatian design review 1314

Bloom

studio Brigada kreativni direktor / creative director Damjan Geber dizajner / designer Simon Morasi Piperčić samoinicirani rad / self-initiated work 03/2014

Linija namještaja od svijetle hrastove šperplo- A line of furniture made of light oak plywood če s čistim bojama i obrisima bez nepotrebnih with clear colours and contours lacking any detalja. Stolica Bloom sastoji se od klasičnog unnecessary details. The Bloom chair consists pojastučenja i jednostavnog hrastovog okvi- of a classic upholstering and a simple oak-tree ra, a pripadajući stol je na površini dorađen frame, and the final finish of the surface of the iznimno otpornom gumom. Projekt je u fazi table from the same set is made of extremely prototipa. resistant rubber. The project is in the proto- type stage.

industrial / product design 267 Pregled Hrvatskog dizajna 1314

Inside Out Collection

dizajn / design Svjetlana Despot naručitelj / client Data by Despot, Rijeka 07/2012

Kolekcija Inside Out logičan je nastavak istra- The Inside Out collection is a logical sequence živanja forme i strukture u najdražem mediju of exploring form and structure in this desi- ove dizajnerice – filcu. Proizvodi se kroje iz gner’s favourite medium – felt. The items are jednog komada, a sklapaju se ručno prekla- tailored from one piece, and they are assem- panjem, provlačenjem ili izvlačenjem rubnih bled by manual folding, pulling through, or dijelova, ili se kao spojevi koriste ‘ključići’ od pulling out the edge parts, or small felt ‘keys’ filca. Sklapanje je jednostavno i bez dodatnih are used for linking the parts. The assembling alata pa je otvorena opcija plošnog pakiranja is simple and done with no additional tools, so i transporta kao i jednostavno organiziranje there is the possibility of flat packaging and završne faze proizvodnje na udaljenim lokaci- transportation, as well as a simple organiza- jama. Čiste linije, svježina dizajna, te paleta od tion of the final stage of production at distant 14 boja omogućavaju kombiniranje proizvoda u locations. Pure lines, freshness of design, and a najrazličitije tipove interijera i stilove uređenja. 14-colour palette allow item combinations in a wide variety of interiors and decoration styles.

Industrijski / produkt dizajn 268 croatian design review 1314

Carte Blanche

dizajn / design Filip Gordon Frank samoinicirani rad / self-initiated work 12/2013

Carte Blanche je torba s podesivom narameni- Carte Blanche is a bag with an adjustable sho- com nastala s ciljem da se za minimalan budžet ulder strap, created with the aim to get a dobije dopadljiva, ali kvalitetna torba dostupna charming, but good-quality bag available to širokoj publici, što je dodatno postignuto kori- a wide audience for a minimal budget, which štenjem gurtni i patentnih zatvarača u bojama. was additionally achieved by using colourful Torba je u cijelosti izrađena od tyveka, što ju straps and zippers. The bag is entirely made čini otpornom i jednostavnom za održavanje of tyvek, which makes it resistant and easy to te idealnom za, npr. plažu. maintain and ideal for, e.g. the beach.

industrial / product design 269 Pregled Hrvatskog dizajna 1314

Noah’s

dizajn / design Filip Gordon Frank samoinicirani rad / self-initiated work 12/2012

noah’s design: Filip Gordon Frank

Noah’s je obitelj dasaka za rezanje (kruha, sira, povrća...... ) u formi stiliziranih životinja izrađenih od masiva bukve ili javora.

Sve veća popularnost i sve veći značaj koji se pridaje pripremi hrane (razni cooking show-ovi, TV emisije, kuharice...) bili su inspiracija za dizajn kojem se pristupilo s ciljem da se svakodnevnom, neatraktivnom uporabnom predmetu udahne duh i svježina te da se svakodnevni “ritual” pripremanja hrane, ovaj puta namjerno, približi i djeci koja ionako vole “kuhati” i pomagati u kuhinji čim se mame uhvate posla. Obitelj proizvoda okupljena je pod zajedničkim imenom Noah’s kao referenca na Noinu arku (drvenu korablju) i životinje koje je okupio (domaće i divlje).

Noah’s je obitelj daska za rezanje u formi stili- Noah’s is a ‘family’ of cutting boards in the ziranih životinja izrađenih od masiva bukve ili shape of stylized animals, made of solid beech javora. Sve veća popularnost i sve veći značaj or maple-tree. The increasing popularity and koji se pridaje pripremi hrane bili su inspira- the growing importance of food preparation cija za dizajn kojem se pristupilo s ciljem da se were the inspiration for the design aiming to svakodnevnom, neatraktivnom uporabnom add some spirit and freshness to an everyday, predmetu udahne duh i svježina te da se sva- unattractive utility item, and to bring the kodnevni ritual pripremanja hrane približi i everyday ritual of food preparation closer djeci. Obitelj proizvoda okupljena je pod za- to children as well. The family of products is jedničkim imenom Noah’s kao referenca na gathered under the common name Noah’s, as Noinu arku i životinje koje je okupio. a reference to the Noah’s Arc and the animals gathered there.

Industrijski / produkt dizajn 270 croatian design review 1314

Arigato

studio Grupa studio dizajn / design Filip Despot, Ivana Pavić, Tihana Taraba naručitelj / client Grupa products Zagreb 10/2013

Iza lampe Arigato u svim njenim varijacijama Behind the Arigato lamp in all its variations stoji jednostavan autorski iskaz, a to je mate- there is a simple designers statement: to ma- rijalizirati skromnu ljudsku gestu zahvalnosti terialize a modest human gesture of gratitude kroz dizajn jednog svakodnevnog predmeta. U through the design of an everyday object. In Arigatu, Grupa se igra s idejom kako dizajni- Arigato, Grupa plays with the idea how de- rani predmeti mogu simbolizirati (ili u ovom signed objects can symbolize (or, as in this slučaju čak oponašati) stavove, a istovremeno case, even mimic) attitudes, at the same time ostati vrlo blizu svom arhetipskom obliku, pa staying true to its archetypal shape, or even i rafinirati ga do potpune ogoljenosti. refining it to absolute nakedness.

industrial / product design 271 Pregled Hrvatskog dizajna 1314

Monk

studio Grupa studio dizajn / design Filip Despot, Ivana Pavić, Tihana Taraba naručitelj / client Kvadra Sv. Križ Začretje 10/2013

Monk dolazi u dvije varijante – stolca i fotelje The Monk comes in two variants – a chair and – koji dijele isti gornji dio konstrukcije, dok je an armchair – sharing the same upper part of donji (noge) viši i uspravljen u inačici stolca, the construction, while the lower part (legs) a niži u inačici fotelje. Zajedno, dva Monka is higher and upright in the chair version, and objedinjuju svakodnevne funkcije rada i kon- lower in the armchair version. Together, the templacije. Rukonaslon je dio sjedala, a cijela two Monks combine everyday functions such školjka vizualno se doima kao da lebdi neovi- as work and contemplation. The armrest is a sno o svom razmjerno neupadljivom osloncu, part of the seat, and the whole shell visually no ujedno je riječ i o hommageu retro namje- seems to be hovering independently on its štaju i o igri tipologijama. rather inconspicuous support – simultaneously, it is a homage to retro furniture and a typology game.

Industrijski / produkt dizajn 272 croatian design review 1314

Keira kantica za cvijeće / Keira watering can

dizajn / design Igor Jurić naručitelj / client Keira Zagreb 04/2013

Dizajn Keira kantica za cvijeće omogućava da The design of the Keira watering can makes it se isti broj proizvoda može prevesti s jednim possible for the same number of items to be umjesto osam brodova ili kamiona, čime se transported by a single rather than eight ships smanjuje ne samo potreba za skladišnim pro- or trucks, which decreases not only the need storom, nego i potrošnja goriva. Patentirana for storage space, but also fuel consumption. Keira kantica u tom je smislu ekološki proi- The patented Keira watering can is in this zvod, usput i izrađen od 100% reciklirajućeg respect an ecological product made of 100 % materijala, a ujedno i vrlo konkurentan izvo- recyclable material and a competitive export zni proizvod. Samo u godini 2013. prodano je product. More than half a million Keira wate- preko pola milijuna Keira kantica za cvijeće ring cans were sold worldwide only in 2013. širom svijeta.

industrial / product design 273 Pregled Hrvatskog dizajna 1314

Polica LAKO eco FU(rni)TURE system

dizajn / design Ada Kezić fotograf / photography Dražen Lapić naručitelj / client Drvni klaster SZ Hrvatske / Wood Cluster of NW Croatia, Varaždin 01/2013

Polica Lako je dio modularnog sistema koji se The Lako shelf is a part of a modular system sastoji od drvenih kvadratnih okvira i ploča consisting of wooden square frames and pa- međusobno spojenih pomoću modificira- nels connected together by modified classic nog klasičnog drvenog spoja ‘utor i pero’ tzv. wooden ‘groove and spring’ connection, the ‘dvostrukog lastinog repa’. Utori se nalaze na so-called ‘double dovetail’. The grooves are pla- okvirima i pločama a ‘pero’ je zapravo letvica ced on the frames and panels, and the ‘spring’ koja cijelom svojom dužinom spaja 2 utora. is actually a lattice connecting two grooves Kvadratni okviri koriste se kao modularni along its entire length. The square frames are element i kod stolca, klupe i police. Police se used as a modular element with the chair, the mogu modularno nastavljati u širinu i visinu. bench, and also with the shelf. The shelves Osnovni modul (okvir) je 44×44 cm, duljina can be modularly extended length-wise and police/leđa je 90 cm. Kvadratni okviri služe width-wise. The basic module (frame) is 44×44 kao nosači polica i leđa. Prvo se postavljaju cm, the shelf/back length being 90 cm. The leđa na kvadratne okvire a police se uglave square frames are used as shelf- and back-su- između leđa i okvira. Okviri, police i leđa spa- pports. First, the back is installed on the square jaju se pomoću letvica. Polica se proizvodi od frames, and shelves are fixed between the back slavonskog hrasta, bukve ili jasena, površinski and the frames. The frames, the shelves, and obrađenog ekološkim uljima. the back are connected together using lattices. The shelf is made of the Slavonian oak, beech, or ash, and is surface-treated with organic oils.

Industrijski / produkt dizajn 274 croatian design review 1314

Nagrada Turistički cvijet – kvaliteta za Hrvatsku / Tourist Flower Award – Quality for Croatia

dizajn / design Draga Komparak naručitelji / clients HGK, HRT / Croatian Chamber of Economy, Croatian Radiotelevision 10/2013

Naziv nagrade, Turistički cvijet interpretiran je The name of the award, the Tourist Flower kroz formu quatrefoila – floralnog elementa Award, is interpreted through the quatrefoil sastavljenog od četiri kruga/latice. Sam motiv form – a floral element comprised of four circ- često je korišten u lokalnoj arhitekturi. Naci- les/petals. The motif itself was often used in onalni karakter nagrade izražen je pak kroz the local architecture. The national character kvadratnu formu a dodatno naglašen odabi- is expressed through a square form, and furt- rom materijala – bijelog bračkog vapnenca, her emphasized by the choice of the material kamena koji se stoljećima koristi u hrvatskoj – the white limestone from the Island of Brač, arhitekturi. a rock used in the Croatian architecture for centuries.

industrial / product design 275 Pregled Hrvatskog dizajna 1314

Gloopy: Wardrobe Creatures

dizajn / design Lara Glavić Končar, Sunčana Vrtarić samoinicirani rad / self-initiated work 05/2013

Serija predmeta iza kojih stoje lutkarica Sunča- A series of items created by Sunčana Vrtarić, a na Vrtarić i grafička i produkt dizajnerica Lara puppeteer, and Lara Glavić Končar, a graphic Glavić Končar. Gloopy pretvara svakodnevne and product designer. Gloopy turns everyday predmete u zanimljiv i razigran dizajn s osob- objects into interesting and playful designs nošću, koristeći raznolike materijale i kontra- with a personality, using a variety of mate- stne vizualne elemente. Kolekcija Wardrobe rials and contrasting visual elements. The Creatures je prvi ostvaren Gloopy projekt, čiji Wardrobe Creatures collection is the first enje cilj bio ormare i garderobe, kao uglavnom tirely realized Gloopy project. Its aim was to tamne i zagušljive kutke, razveseliti neobič- make closets and wardrobes, usually dark and nim malim stvorovima koji mirišu na lavandu. stuffy corners, cheerful with the help of little lavender-smelling creatures.

Industrijski / produkt dizajn 276 croatian design review 1314

Arshany AR 012-4

dizajn / design Krunoslav Kovač samoinicirani rad / self-initiated work 10/2012

Komoda AR 012-4 dio je kolekcije namještaja The AR 012-4 chest of drawers is a part of the Arshany čiji se koncept zasniva na autentič- Arshany furniture collection. Its concept is nom materijalu – dobro očuvanom hrastu i based on authentic materials – well preserved brijestu – nekad sastavnim dijelovima građe oak-tree and elm-tree – once used as compo- tradicijskih seoskih kuća i štala. Oblikovanjem nents for building traditional rural houses and je naglašeno svojstvo uporabljenog drva i lje- barns. The shaping emphasized the feature of pota nedostataka u strukturi drveta nastalih used wood and the beauty of flaws in the stru- kroz desetljeća. U proizvodnji je korišten jed- cture of woods that emerged over decades. In nostavan tehnološki proces s velikim udjelom the production, a simple technological process ručne izrade, te prirodni uljni premazi. relying largely on handwork was used, as well as natural oil coatings.

industrial / product design 277 Pregled Hrvatskog dizajna 1314

Zipato – kućište modularnog smart home sustava / modular smart home system housing

agencija Kuharić Matoš kreativni direktor / creative director Bojan Matoš art direktor / art director Luka Kuharić naručitelj / client Tri plus grupa, Zagreb 12/2012

Oblikovanje modularnog kućišta smart home A design of the modular smart home system sustava, u cijelosti osmišljenog i razvijenog u housing, completely designed and developed Hrvatskoj. Ispunjava tehničke zahtjeve monta- in Croatia. It meets the technical requirements že i modularnog proširivanja. Moduli se spajaju regarding assembling and modular expansion. originalno razvijenim sustavom spojeva. Osim The modules are combined using an originally tehničkih zahtjeva pri oblikovanju se posebna developed coupling system. In designing pro- pažnja posvetila i prepoznatljivosti uređaja koji cess, in addition to technical requirements, je intenzivno korišten u marketinškoj kampa- special attention was paid to recognisability of nji. Dio je šireg projekta koji uključuje vizualni the device intensively used in the marketing identitet, komunikacijsku strategiju te dizajn campaign. It is a part of a more comprehensive interaktivnih aplikacija za upravljanje smart project involving visual identity, communica- home sustavom. Zipato je trenutno prisutan tion strategy, and design of interactive appli- na 52 tržišta u Europi i svijetu. cations for managing the smart home system. The Zipato is currently present on 52 markets in Europe and worldwide.

Industrijski / produkt dizajn 278 croatian design review 1314

Table Yourself

dizajn / design Ana Armano Linta suradnici / contributors Veljko Armano Linta, Ivana Ćavar, David Azinović samoinicirani rad / self-initiated work 05/2014

Table Yourself je serija stolića nastalih iz jedne Table Yourself is a series of coffee tables created ploče. S minimalno otpada, bez dodatnih spoj- from one panel. With minimal waste and no nih dijelova, stolići se jednostavno sastavljaju, additional connecting parts, the coffee tables koriste i rastavljaju, te spremaju ili prenose. are easily assembled, used and dismantled, and Zahvaljujući principu utora koji je osnovni stored or transferred. Thanks to the groove konstruktivni element, samo oblikovanje principle, the groove being the basic structural ploče stola je proizvoljno. Tako se stvara pro- element, only the shaping of the tabletop is stor za individualizaciju u oblikovnom pogledu, arbitrary. In terms of design, this creates space dok karakter svih stolića ostaje prepoznatljiv for individualization, while the character of zbog spojeva i ‘zrcaljenja’ oblika stola na oblik the tables remains recognizable because of postolja. the connections ‘mirroring’ the shape of the table to the shape of the base.

industrial / product design 279 Pregled Hrvatskog dizajna 1314

Behide

studio Manufakturist & Dioralop dizajn / design Andreja Bistričić, Mia Bogovac, Matea Bronić, Dora Đurkesac, Maja Merlić, Maša Milovac, Kristina Volf samoinicirani rad / self-initiated work 04/2013

Proizvod zajedničkog rada skupine modnih i A product of collective efforts of a group of produkt dizajnerica, paravan Behide naglašava fashion and product designers, the Behide fol- proces razodijevanja i skrivanja te omoguća- ding screen emphasizes the process of undre- va odlaganje odjeće. Kroz vješto konstruiranu ssing and hiding, and allows storing clothes. međuovisnost drvene plohe i metalne linije, Skilfully constructed interdependence of the istražuje granice vidljive i nevidljive neverbal- wooden panel and the metal line explores the ne komunikacije. Iako ne zaštićuje potpuno od boundaries of visible and invisible non-verbal pogleda znatiželjnika, on svojom prisutnošću communication. Although it does not hide odvaja prostor te postaje objekt koji stvara pro- everything from curious looks, its presence stor intime. Kao predmet, suptilno ukazuje carves up the space becoming an object that na nekoliko namjena u domeni stanovanja i creates intimate space. As an object, it subtly odijevanja. Kao dizajnerski proizvod povezuje indicates several different purposes in the i odražava senzibilitet dva mlada brenda. housing and dressing domains. As a designer product, it unites and reflects the sensibility of two fresh brands.

Industrijski / produkt dizajn 280 croatian design review 1314

GKD set

studio Manufakturist dizajn / design Kristina Volf, Mia Bogovac, Maša Milovac, Matea Bronić, Dora Đurkesac naručitelj / client Galerija Klovićevi dvori / Klovićevi dvori Gallery, Zagreb 03/2013

GKD klupe i stolice projektirane su za otvore- The GKD benches and chairs were designed for nje izložbe Pabla Picassa u Galeriji Klovićevi the opening of the Pablo Picasso exhibition at dvori. Ovaj asortiman idealan je za galerijske the Klovićevi Dvori Gallery. This assortment is i muzejske prostore koji zahtijevaju jedno- ideal for gallery and museum premises that stavnost, nenametljivost i eleganciju. Inspi- require simplicity, unobtrusiveness, and ele- rirane prepoznatljivim svodovima, te čistim gance. Inspired by distinctive arched ceilin- i masivnim bijelim zidovima same Galerije, gs, and clean and massive white walls of the dizajnerice su u oblikovanju pažnju usmjerile Gallery, in the designing process the designers na kvalitetu materijala, karakteristične križne focused on the quality of materials, characteri- spojeve nogu, trajnost i finoću završne obra- stic cross leg joints, durability, and a fine final de. Odabirom naizgled blagog, ali izdržljivog finish. By choosing a seemingly gentle, and yet drva – javora, te usklađivanjem ploha, krivulja durable wood – maple-tree, and by aligning i volumena jednostavan predmet poput klupe surfaces, curves, and volume, a simple object postaje stilski primamljiv. like a bench becomes stylistically alluring.

industrial / product design 281 Pregled Hrvatskog dizajna 1314

Boya – kolekcija proizvoda / collection of products

dizajn / design Maja Mesić samoinicirani rad / self-initiated work 05/2014

Sredstvo za crtanje koje omogućava siguran A drawing instrument allowing safe and free, i slobodan, no istovremeno čvrst i energičan yet firm and energetic hand movement. Co- pokret ruke. Boje za crtanje kakve obično ko- louring pencils like those commonly used, in ristimo, u formi štapića, ograničavaju likovno the form of a stick, limit artistic expression, izražavanje, jer je način na koji su oblikovane because of their shape and the way they are da ih držimo u ruci predodređen za pisanje. held in the hand which actually makes the, Suprotno tome, ove bojice za crtanje zbog predestined for writing. In contrast, due to svoje forme omogućuju prirodni i ekspresivni their form, the Boya colouring pencils provide pristup crtanju. One su novi inovativni crtaći natural and expressive approach to drawing. alat, lako prilagodljive svakoj ruci, a zglobu They are new innovative drawing tools, easily omogućavaju bezbroj pokreta i položaja što adaptable to any hand permitting an infinite se izravno odražava na kvalitetu i mogućnosti number of movements and positions, which crtanja. directly reflects on the drawing possibilities and their quality.

Industrijski / produkt dizajn 282 croatian design review 1314

Bloop

dizajn / design Ruđer Novak Mikulić, Marija Ružić naručitelj / client Artisan, Zagreb/Tešanj 01/2013

Kolekcija stolića Bloop rezultat je dekompozi- The Bloop coffee table line is a result of decon- cije klasičnog okruglog stolića s centralnom structing a classic round coffee table with one nogom, izrađenog tehnikom tokarenja dr- central leg, produced by woodturning tech- veta. Izmicanjem osi rotacije triju osnovnih nique. An unconventional spatial composition elemenata takvog stola (baze, noge i ploče) is achieved by the shift of the rotation axes postignuta je nekonvencionalna prostorna on the three basic elements (the base, the leg, kompozicija, a zahvaljujući korištenju 5-osne and the table top), with entirely retained fun- tehnologije zadržana je sva funkcionalnost ctionality and stability due to the use of 5-axis i stabilnost. Kompozicija nekoliko stolića u technology. The composition of a few tables prostoru asocira na krugove koji se nepravilno in space reminds of rings on water spreading šire površinom vode kada bacimo kamenčić. irregularly when we throw in a pebble.

industrial / product design 283 Pregled Hrvatskog dizajna 1314

Neva

dizajn / design Ruđer Novak Mikulić, Marija Ružić naručitelj / client Artisan, Zagreb/Tešanj 01/2013

Karakter stolice Neva proizlazi iz poetike vala The character of the Neva chair stems from na koji asocira kontinuirana linija koja prelazi the poetics of the wave invoked by the con- iz prednje noge u rukonaslon te iz rukonaslona tinuous line moving from the front leg into u naslon. Kao i val, stolica je u potpunosti flu- the armrest, and from the armrest into the idna i zaobljena, mekih prijelaza. Maksimalno back. Like the wave, the chair is completely tanka, iznimno lagana, u potpunosti odražava fluid and rounded, with soft transitions. As tehnološki proces kojim je nastala, točnije spoj thin as it gets, extremely lightweight, it com- vrhunske 5-osne CNC tehnologije i posvećen pletely reflects the technological process it ručni rad iskusnih majstora. emerged from, more specifically, a compound of the 5-axis CNC technology and dedicated handwork by experienced craftsmen.

Industrijski / produkt dizajn 284 croatian design review 1314

Picard

dizajn / design Ruđer Novak Mikulić, Marija Ružić naručitelj / client Artisan, Zagreb/Tešanj 01/2013

Forma radnog stola Picard inspirirana je kla- The form of the Picard desk was inspired by sičnim pisaćim stolovima, ali reinterpretirana classic desks, but reinterpreted in accordance u skladu s naprednim mogućnostima 5-osne with advanced possibilities of the 5-axis wood obrade drva u kombinaciji s ručnim radom. processing combined with handwork. It is Sastoji se od dvije cjeline, mekog tijela stola i composed of two units, a soft body of the table, karakterističnih nogu koje ga obgrljuju te ima- and characteristic legs embracing it, and the ju demontažnu opciju. Osim dvije ladice, po- legs have the dismantling option. In addition stoji i pretinac za kablove, koji korisnik može to two drawers, there is a cable compartment, prilagođavati vlastitim potrebama. Stol dolazi which users can adjust to their personal needs. u izvedbama sa i bez police, a radna površina The desk comes in two versions – with or wi- može biti izvedena u masivnom drvu ili u kon- thout a shelf, and the desktop can be made trastnom materijalu, npr. Corian. of massive wood or of a contrasting material, e.g. Corian.

industrial / product design 285 Pregled Hrvatskog dizajna 1314

Shift

dizajn / design Ruđer Novak Mikulić, Marija Ružić naručitelj / client Artisan, Zagreb/Tešanj 01/2013

Lampa koja na vrlo jednostavan način, bez slo- A lamp that fulfils the functions of directed ženih mehanizama, ispunjava funkcije usmje- and ambient lighting in a very simple manner rene i ambijentalne rasvjete. Konstrukcija and without complex mechanisms. The con- lampe je asketska, lišena suvišnih elemenata. struction of the lamp is ascetic, deprived of Sastoji se od tri drvena štapa koje korisnik sam all unnecessary elements. It consists of three sastavlja u prostornu konstrukciju te sjenila wooden poles the users assemble into a spatial koje klizi po jednom od štapova i naslanja se na construction and a shade sliding along one preostala dva štapa u raznim položajima. Sje- of the poles and leaning onto the two rema- nilo je izrađeno od perforiranog lima presvu- ining poles in different positions. The shade čenog tkaninom, kako bi bilo dovoljno čvrsto is made of perforated metal sheets coated in za naslanjanje na drvene štapove, a dovoljno fabric, to make it strong enough to lean onto lagano za jednostavno rukovanje njime. Kon- the wooden poles, and light enough for simple cept za lampu nastao je kao studentski rad na handling. The concept of the lamp emerged Studiju dizajna. during a research study at the School of Design.

Industrijski / produkt dizajn 286 croatian design review 1314

Oblique

dizajn / design Numen/For Use naručitelj / client Prostoria Zagreb 01/2014

Osnova sistema je karakteristični profil fotelje The basis of the system is the characteristic koji, definiran dvjema trokutnim prizmama, profile of a sofa which, defined by two trian- osigurava najveće debljine pjene na stražnjoj gular prisms, ensures maximum foam thic- strani sjedala i lumbalnoj zoni naslona. Kon- kness on the rear of the seat and the backseat’s struktivni furnirski otpresak svinut oko dvi- lumbar area. The structural veneer moulding je osi, presvučen je zajedno sa spužvom što is bent around two axes and is upholstered rezultira sjedinjenom pulsirajućom formom. together with the foam, resulting in a unified Noge, proizvedene iz masivne hrastovine, se pulsating form. As a result of the triangulation, triangulacijom stanjuju prema podu, transfor- the solid oak legs thin towards the bottom, mirajući kvadratni presjek vrha nogu u trokut thus transforming the square cross-section njihovih baze. of the top of the legs into their bases’ triangle.

industrial / product design 287 Pregled Hrvatskog dizajna 1314

Polygon

dizajn / design Numen/For Use naručitelj / client Kvadra / Prostoria 10/2013

Polygon je fotelja s rukonaslonima nastala na Polygon is an armchair whose armrests are modernističkoj tipologiji sjedalice skromnih based on the modernist typology of a seat of dimenzija koja zadovoljava funkcionalne pa- modest dimensions. It fulfils the functional rametre ali ne uzurpira prostore primjene parameters but does not usurp spaces that glomaznošću i nepokretnošću. Trokuti koji are susceptible to bulk and immobility. Each definiraju ortogonalni bočni pogled na fote- change in perspective transforms the triangles lju pretvaraju se u heksagone i kompleksnije that define the orthogonal side view of the poligone pri promjeni perspektive. Rezultat je armchair, into hexagons and other complex proizvod koji se doima poznatim, čak i pomalo polygons. The end result is a product which staromodnim ali istovremeno i izrazito su- seems familiar, even a little old-fashioned, yet vremenim. Konstrukcija od svinutih čeličnih is simultaneously distinctly modern. The bent šipki dodatno apostrofira dvojakost karaktera steel rod construction further accentuates Po- Polygona. lygon’s duality.

Industrijski / produkt dizajn 288 croatian design review 1314

Kupač u suncu / Sunswimmer

studio Oaza dizajn / design Nina Bačun, Ivana Borovnjak, Roberta Bratović, Maja Kolar, Maša Poljanec, Tina Ivezić samoinicirani rad / self-initiated work 05/2014

Naziv proizvoda Sunswimmer derivat je engle- The name of the product – Sunswimmer – was ske složenice sunbathing ili njemačke sonnenba- derived from the English compound sunbat- den, koje znače sunčanje, ali se u doslovnom hing or German sonnenbaden, meaning sun prijevodu mogu čitati i kao kupanje u suncu. tanning, but the literal translation might also Proizvod je inspiriran jednostavnim zračnim be bathing in the sun. The product was inspi- madracima, a razvijen je kao unificirani asor- red by simple air matrasses, and was developed timan namijenjen hotelima, za korištenje u as a unified assortment intended for hotels eksterijeru (terasa, bazen, plaža) i interijeru. or other exterior (terraces, pools, beaches) or Za namjenu u eksterijeru u metalnu konstruk- interior use. In case of exterior use, a geome- ciju (negativ) umeće se geometrizirani zračni trized air sheath (the positive, which makes plašt (pozitiv koji čini ispunu konstrukcije). the filling of the metal structure) is inserted Ista konstrukcija koristi se i u interijerima u into the metal construction (the negative). The kombinaciji s klasičnim ojastučenjem forme same construction can be used in the interior plašta. Usluga iznajmljivanja sjedalice riješena in combination with classic upholstery of the je najmom napuhanog jastuka koji se brzo šuši, sheath form. The solution for chair renting te lako održava i pere u uvjetima soli, vode i service was found in renting inflatable fast sunca. drying pillows, easy to maintain and wash in all weather conditions, including salt, water and sunlight.

industrial / product design 289 Pregled Hrvatskog dizajna 1314

Logiq Tower

dizajn / design Marko Pavlović suradnik / contributor Scott Kurowski naručitelj / client Great Circle works Inc. Toronto 03/2013

Drvena slagalica Logiq Tower sastoji se od 15 The Logiq Tower wooden puzzle has 15 interi- unutarnjih i vanjskih dijelova te baze sa šta- or and exterior elements and the base with a pom u sredini. Slaganjem, igrač isprepliće unu- stick in the middle. By assembling, the player tarnje i vanjske dijelove slažući ih na štap i oko intertwines inner and outer elements, putting njega. Iza svakog poteza može ostati i nedovr- them onto and around the stick. After every šen posao, praznina ili višak dijelova. Slagalica move, there can be some unfinished work left, se može graditi satima ili se neočekivano zavr- a gap, or excess elements. The puzzle can be as- šiti u samo nekoliko minuta. Podjednako važne sembled for hours or unexpectedly finished in uloge imaju intelektualna sposobnost i puka less than few minutes. The intellectual ability slučajnost. Logiq Tower ima ukupno 22.069 and mere coincidence play equally significant mogućih jedinstvenih rješenja u 4 razine. roles. The Logiq Tower has a total of 22 069 possible solutions on four different levels.

Industrijski / produkt dizajn 290 croatian design review 1314

Pil-low

studio Redesign dizajn / design Neven Kovačić, Sanja Kovačić naručitelj / client Kvadra Sv. Križ Začretje 01/2013

Pil-low je multifunkcionalna sofa koju karak- The Pil-low is a multi-functional sofa characte- terizira specifičan odnos između sjedišta, na- rized by a specific relation between the seat, slona i jastuka u kojem jastuk ima dvostruku the backrest, and the pillow with a double funkciju – u položaju sofe unapređuje ergono- function – in the sofa position it improves miju sjedenja, a u položaju kreveta služi kao the seating and ergonomics, and in the bed proširenje prostora za spavanje. Uobičajeno position it serves as an extension of the slee- dekorativno nadopunjavanje sofe jastucima ping space. Pillows, as the usual decorative radi korigiranja ergonomije sjedenja više nije accessory on a sofa, are no longer necessary potrebno. Inovativan mehanizam omogućuje thanks to improved seating ergonomics. An jednostavnu transformaciju sofe u krevet. U innovative mechanism allows for simple tran- prvoj fazi otvaranja dostupna je ladica za po- sformation of the sofa into a bed. In the first hranu koja je u sklopljenom položaju potpuno stage of unfolding there is a drawer available skrivena. for storage, which is completely hidden in the collapsed position.

industrial / product design 291 Pregled Hrvatskog dizajna 1314

Up-lift

studio Redesign dizajn / design Neven Kovačić, Sanja Kovačić naručitelj / client Kvadra Sv. Križ Začretje 06/2013

Up-lift predstavlja inovaciju u segmentu tipolo- The Up-lift is an innovation in the segment of gije fotelja s integriranim ležajem. Oblikovan typology of armchairs with integrated beds. je na način da se transformacija postiže jed- It was designed in such a way that the tran- nostavnim podizanjem (up) naslona koji auto- sformation is achieved by simple bringing up matski podiže (lift) donju zonu ležaja zadržava- the backrest that automatically lifts the lower jući pritom optimalnu visinu. Formu čine dva part of the bed, thereby retaining the opti- volumena koji po principu ekscentra rotiraju mal height. The form consists of two volumes jedan oko drugog tvoreći skladnu cjelinu u oba rotating around each other by the eccentric položaja. Rukonaslon je zaobljen jer je preuzeo principle, creating a harmonious whole in funkciju kotača, a naslon ukošen i zaobljen radi both positions. The armrest is rounded be- smanjenja nepotrebnog volumena. Posebna cause it took over the wheel function, and the pažnja posvećena je dizajnu podkonstrukci- backrest is sloped and rounded for reducing je s elastičnim trakama i visokokvalitetnom unnecessary volume. Special attention is paid pjenom postavljenim na strateškim mjestima to the design of the sub-construction with čime je omogućena maksimalna udobnost u elastic bands and high-quality foam placed at minimalnom ‘pakiranju’. Osim fotelje, obitelj strategic points, ensuring maximal comfort Up-lift upotpunjuje i dvosjed koji se u funkciji in a minimal ‘package’. In addition to the ar- ležaja pretvara u krevet za dvije osobe. mchair, the Up-lift family is complemented with a two-seater, turning into a double bed when used as a bed.

Industrijski / produkt dizajn 292 croatian design review 1314

Lacescape Table

studio Roman Vlahović, Zagreb/Singapore dizajn / design Luka Vlahović, Miro Roman copywriter Petra Tomljanović suradnik / contributor Stelios Psaltis samoinicirani rad / self-initiated work 04/2014

Projekt Lacescape Table isprepliće niti tehno- The Lacescape Table project combines techno- logije i tradicije. Njega su osmislile hrvatske logy and tradition. It was designed by Croatian čipkarice, a proizveli roboti. On je potpuno lace-makers, and produced by robots. It was digitalno projektiran i proizveden te nije za- completely digitally designed and produced mišljen kao jedan jedinstveni objekt. On je and was not envisioned as a unique object. koncept koji u sebi sadrži čitavu populaciju The Lacescape Table is a concept containing stolova. Svaki projektirani stol je jedinstven, in itself an entire population of tables. Each svaki priča svoju priču kroz uzorak čipke na designer table is unique with its own story told koju se poziva. On je isječak beskrajnog di- by the lace pattern it refers to. It is an excerpt gitalno istkanog krajolika: ponekad hvarske, from an endless digitally weaved landscape: ponekad paške, a ponekad lepoglavske čipke. sometimes the lace comes from the Island of Hvar, sometimes from the Island of Pag, and sometimes from Lepoglava.

industrial / product design 293 Pregled Hrvatskog dizajna 1314

Monolit

dizajn / design Sanja Rotter samoinicirani rad / self-initiated work 05/2014

Predmet je inspiriran rezanom građom fosil- The item was inspired by sawn fossil oak wood. nog hrasta, koji u fazi između smeđe i potpuno In the stage between brown and entirely black, crne, ima vrlo specifičan i dekorativan efekt this wood has a very specific decorative effect prijelaza (verlaufa) boja, od crne raspadnute of colour transition (verlauf), from the black kore do bakrene unutrašnjosti trupca. Kor- disintegrated bark to the copper colour of pus je izrađen od drvnih ploča furniranih the inside log. The corpus is made of wooden rezanim furnirom fosilnog hrasta starog oko panels veneered with 3200 – 3500 years old 3200 – 3500 godina, kada je prijelaz boja najviše fossil oak veneer, with the most pronounced izražen. Fronte ladica izrađene su spajanjem transition of colours. Lattices from completely letvica potpuno tamnog, masivnog otpadnog dark and massive waste wood were used to drva. Autorica je u stolariji Močvarni hrast kod make drawer fronts. In the Močvarni Hrast majstora Darka Franjića, naučila izraditi ovaj carpentry, the designer learned how to pro- komad namještaja gotovo posve samostalno. duce this piece of furniture almost entirely independently together with Darko Franjić, the master.

Industrijski / produkt dizajn 294 croatian design review 1314

Woodoir noir

dizajn / design Sanja Rotter samoinicirani rad / self-initiated work 08/2012

Dva tipa češljeva – ‘muški’ i ‘ženski’ – koriste se Two types of combs – a ‘male’ one and a ‘fe- za dva tipa kose: ravnu i kraću, te gustu i kovr- male’ one – can be used for two hair types: čavu. Konstrukcijska potreba za laminiranjem straight and short, and thick and curly. The muškog češlja (zbog suprotnog smjera godova construction requirements implied lamina- i zubaca) bila je poticaj za eksperimentiranje tion of the male comb (due to the opposite kolorističkim efektima koji nastaju kroz kon- direction of growth rings and teeth) which strukcijsko spajanje i brušenje. Kao materijal, was a stimulus for experimenting with colour mahom je korišten otpad od podova te fur- effects emerging through structural connecti- nir, isključivo domaćih vrsta drva. Korištena on and grinding. Floor waste and veneer made tehnologija uključuje CNC rezanje osnovne of domestic wood species were predominantly konture proizvoda te ručnu finalnu doradu do used as material. The technology used involves najfinije razine površinske obrade. the CNC cutting of the basic product contour and a handmade final finish to the finest -sur face treatment level.

industrial / product design 295 Pregled Hrvatskog dizajna 1314

Delight

studio Sonda kreativni direktori / creative directors Sonda, Gigo design istraživanje i razvoj / research and development Elan R&D department naručitelj / client Elan Begunje na Gorenjskem 10/2013

Najlakša ženska skija na svijetu rezultat je vi- The most lightweight female skis in the wor- šegodišnjeg zajedničkog rada na tome kako že- ld are a result of collective long-term efforts nama olakšati skijanje. Sve do nedavno ženske invested in making skiing easier for women. skije dostupne na tržištima bile su tek klasične Until recently, all female skis available on the unisex skije na koje su bila aplicirana grafička market were mere classic unisex skis with rješenja namijenjena ciljnoj skupini žena, no applied graphic solutions for the target group danas u Elanu one tehnologijom prate specifič- of women, but nowadays the Elan technology ne potrebe ženske populacije. Njihova lakoća of their production meets the specific needs of očituje se dvostruko: kroz redukciju težine the female population. Their light-weightiness uporabom inovativnih materijala što olakšava is twofold: through the weight reduction by nošenje skija, ali i kroz tehnologiju koja, vodeći the use of innovative materials, making it ea- računa o fizionomiji ženskog tijela, olakšava sier to carry skis, but also through technology, skijanje u svim njegovim fazama. that, taking account of the female body, makes skiing easier in all stages.

Industrijski / produkt dizajn 296 croatian design review 1314

Sudar bags: S type

studio Sudar produkt art direktor / art director Siniša Sudar dizajn / design Zrinka Nedeljković account manager Andrea Sudar samoinicirani rad / self-initiated work 06/2013

Torba S Type proizvodi se u 3 veličine iz cerad- The S Type bag is produced in three different nog platna. Duga ručka omogućava nošenje sizes and made of tarpaulin cloth. A long strap preko ramena ili prsiju, a kod vožnje na biciklu allows carrying the bag over the shoulder or torba se dodatno učvršćuje pojasom oko stru- chest. In case you are riding a bike, the bag ka. Kupac putem Internet aplikacije naručuje can be further reinforced with a waist belt. personaliziranu torbu, sam odabire tipografiju, Customers can order a personalized bag via veličinu i boju. Odabrana grafika se potom tian Internet application and choose their pre- ska na ceradno platno koje se lakira, izrađuje ferred typography, size or colour. The chosen u torbu, pakira i dostavlja kupcu. design is then printed on tarpaulin cloth that is lacquered, made into a bag, packed and delivered to a customer’s address.

industrial / product design 297 Pregled Hrvatskog dizajna 1314

prostorne i grafičke intervencije i sistemi 298 croatian design review 1314

spatial and graphic interventions and systems 299 Pregled Hrvatskog dizajna 1314

Hostel Emanuel

studio Atom design Split dizajn / design Lana Gruić Vitas suautor / co-author Toni Radan naručitelj / client Mila i Toni Radan, Split 06/2013

Zapušteni stan u stambenoj zgradi iz 30-ih go- An abandoned apartment in a building from dina prošlog stoljeća adaptiran je u suvremeno the 30s of the last century adapted into a uređeni hostel s dvije sobe i 15 kreveta. Motivi modern youth hostel with two rooms and 15 grafika nisu klasične teme s razglednica grada, beds. The graphic motifs are not typical post- već se namjerno radi o nerazvikanim splitskim card themes of the city but are purposeful- pejzažima koji daju dodatnu dimenziju cijelom ly selected and rather unknown landscapes prostoru. Sidro, more, pas, kruh i ostali crteži, which provide an additional dimension to zapravo su simboli kršćanske tematike, a u the entire space. An anchor, the sea, a dog, izboru boja inspiracija je Mediteran s različitim bread and other sketches are all symbols of nijansama plave kao dominantne boje te na- religious note and the Mediterranean served rančastom, žutom i zelenom. Dizajn interijera as an inspiration for the selection of colours, je također nadahnut životom mediteranske with various tones of blue as the prevailing ulice, o čemu svjedoče elementi poput bačve colour and orange and green. Interior design uz naslonjač. Stil je eklektičan, spoj suvreme- was also inspired by the life in the streets of nih linija formi kreveta sa stolicama i detaljima the Mediterranean; a barrel located next to iz 50-ih i 60-ih godina prošlog stoljeća. the armchair is a witness thereof. The overall style is eclectic, a combination of modern lines of beds with chairs and details of the 50s and 60s of the last century.

prostorne i grafičke intervencije i sistemi 300 croatian design review 1314

Industrijski centar države: zagrebačka industrijska baština 1918. – 1945. / Industrial Center of State: Zagreb’s Industrial Heritage 1918 – 1945

studio Bilić_Müller studio dizajn / design Dora Bilić, Tina Müller naručitelj / client Muzej Grada Zagreba / Zagreb City Museum 10/2012

Izložba je posvećena zagrebačkoj industrijskoj This exhibition is dedicated to Zagreb’s in- baštini između dva svjetska rata, odnosno po- dustrial heritage of the period between two čecima industrijalizacije Grada Zagreba. Obli- World Wars, that is, to the beginning of in- kovanje postava evocira atmosferu industrij- dustrialisation of the City of Zagreb. The de- skog pogona i tvorničkih skladišta, i to kroz sign of the exhibition evokes the climate of reinterpretaciju karakterističnih industrijskih industrial facilities and factory warehouses by motiva poput proizvodne trake, ambalažnih reinterpreting typical industrial motifs such i transportnih kutija, rasvjete i signalizacije. as conveyor belts, packaging and transport boxes, lighting and signalling.

spatial and graphic interventions and systems 301 Pregled Hrvatskog dizajna 1314

Rudolf Klepač – Maestro fagota / Rudolf Klepač – The Bassoon Maestro

studio Bilić_Müller studio dizajn / design Dora Bilić, Tina Müller naručitelj / client Muzej Grada Zagreba / Zagreb City Museum 05/2013

Postav izložbe o Rudolfu Klepaču, maestru fa- The display of the exhibition on Rudolf Klepač, gota i dirigentu, inspiriran je svijetom klasične the bassoon maestro and orchestra conduc- glazbe, koncertima i profesionalnom muzič- tor, has been inspired by the world of classical kom opremom. Izložbeni displeji interpreta- music, concerts and professional music equip- cija su muzičkih notnih stalaka i drvenih kutija ment. The exhibition displays are an interpre- za instrumente i pripadajuću opremu. Sistemi tation of sheet music stands and wooden boxes displeja za izlaganje sastoje se od zidnih i stol- for instruments and the pertaining equipment. nih notnih stalaka i drvenih / kartonskih kuti- The display systems are made of wall and desk ja različitih dimenzija. Ambijentalna rasvjeta music stands and wooden/cardboard boxes izvedena je iz rasvjete kakva se izvorno koristi of various dimensions. Ambient lighting is za notne stalke. created using original lighting intended for music stands.

prostorne i grafičke intervencije i sistemi 302 croatian design review 1314

Poezija Express: pjesme za ponijeti / Poetry Express: Poetry to-go

dizajn / design Matea Bronić suradnik / contributor Marko Pogačar samoinicirani rad / self-initiated work 12/2013

Projekt Poezija Express istražuje moguće poma- The project Poetry Express explores possible ke u oblikovanju knjige od klasičnog papirna- shifts in book design, from classic paper vol- tog monovolumena prema mediju instalacije u umes to public space installations. First in a javnom prostoru. Prva u nizu zbirki nosi naziv series of collections is entitled Poetry to-go and Pjesme za ponijeti a materijalizirana je u obliku is envisaged as a vending machine used for automata u kakvom se uobičajeno nalazi sitni selling smaller toys or foodstuffs. The machine asortiman dječjih igračka ili prehrambenih contains 35 poems available in paper polygonal proizvoda. Stroj sadrži 35 pjesama dostupnih volumes whose external appearance is alluring u papirnatim poligonalnim volumenima čija with its playful, easy and somewhat childish Yo vanjština mami razigranom, neobaveznom Freckles typeface, implying instant entertain- i pomalo infantilnom Yo Freckles tipografi- ment, while the inside inspires readers with its jom prizivajući instant zabavu, dok nutrina modern poetry. The editor of the ‘collection’ oplemenjuje čitatelja suvremenom poezijom. is Marko Pogačar. Urednik ‘zbirke’ je Marko Pogačar.

spatial and graphic interventions and systems 303 Pregled Hrvatskog dizajna 1314

Hungry Designers

koncept / concept Ivana Borovnjak, Roberta Bratović dizajn / design Oaza (Maja Kolar, Tina Ivezić, Roberta Bratović, Ivana Borovnjak, Nina Bačun, Maša Poljanec) samoinicirani rad / self-initiated work 05/2013

Hungry Designers je kolekcija dizajnerskih Hungry Designers is a collection of designer projekata na temu gastronomije u turizmu. projects on the topic of gastronomy in tourism. Odabrana rješenja propituju stereotipe vezane The selected solutions question the stereo- za hranu, reinterpretiraju tradicijske načine types associated with food; they reinterpret pripreme hrane, nove oblike konzumiranja traditional ways of food making, new forms hrane i promišljanja gastronomske ponude, of food consumption and reflections on the kroz dizajn proizvoda, scenarija i usluga. Jed- offer of dishes through the design of products, nostavan postav od drvenih nosača i ploča ra- scenarios and services. A simple setup made stavljiv je i prilagodljiv različitim lokacijama. of wooden cantilevers and boards can be dis- Glavni nositelji vizualnog identiteta su crvena assembled and adapted to different locations. boja i ilustrativna tipografija. The main carriers of visual identity are red colour and illustrative typography.

prostorne i grafičke intervencije i sistemi 304 croatian design review 1314

Kultura pušenja – Od tabua do tabua / The Culture of Smoking – From Taboo to Taboo

studio Brigada kreativni direktor / creative director Damjan Geber arhitekt, voditelj projekta / architect, project leader David Kabalin produkt dizajn / product design Simon Morasi Piperčić arhitekti / architects Marina Brletić, Kristina Jeren reklamna agencija / advertising agency Bruketa&Žinić OM kreativni direktori / creative directors Davor Bruketa, Nikola Žinić art direktor / art director Ana Baletić suradnici / contributors Lorenzo Cetina (asistent / assistant), Zrinka Jugec (account director), Igor Zidić, Feđa Vukić (kustosi / curators) naručitelj / client Gliptoteka HAZU, Zagreb 10/2012

Izložba Kultura pušenja: Od tabua do tabua te- The exhibition Culture of Smoking: From Taboo matizira ulogu koju je pušenje odigralo u hrvat- to Taboo thematizes the role smoking played in skoj umjetnosti i popularnoj kulturi, spajajući Croatian art and popular culture, combining slike, plakate, fotografije, filmove i različite images, posters, photos and various items cre- predmete nastale u proteklih 150 godina. Uzev- ated in the past 150 years. Taking the phenom- ši kao inspiraciju fenomen dima, glavni je cilj enon of smoke as the inspiration, the main dizajna izložbe bio interpretirati ga u samome aim of the exhibition’s design is to interpret galerijskom prostoru, na način da se postojeći it in the gallery’s space, in such a way that the prostor potpuno transformira. existing space becomes fully transformed.

spatial and graphic interventions and systems 305 Pregled Hrvatskog dizajna 1314

Uredski prostor reklamne agencije Bruketa&Žinić / Bruketa&Žinić advertising agency office interior

studio Brigada kreativni direktor / creative director Damjan Geber arhitekti / architects David Kabalin, Marija Šarušić, Marina Brletić, Kristina Jeren, Lorenzo Cetina produkt dizajn / product design Simon Morasi Piperčić naručitelj / client Bruketa&Žinić OM Zagreb 02/2013

Zadatak je bio optimizirati postojeći ured re- The task was to optimise the existing office klamne agencije u suvremen, funkcionalniji of the advertising agency and turn it into a i ugodniji poslovni prostor koji je u skladu s modern, more functional and comfortable agencijskom kulturom i potiče kreativnost, a business area, which is fully in line with agen- sve uz minimum uloženih financijskih sredsta- cy culture and which stimulates creativity, all va. Korišteni su jednostavni, reciklirani mate- with minimum funds invested. Simple, re- rijali, od sirovina dobavljivih u Hrvatskoj, bez cycled materials made of raw materials from uporabe toksičnih lakova. Dijelovi namještaja Croatia were used, with no toxic varnishes. su restaurirani klasici hrvatskog i regionalnog Parts of furniture are restored classics of Cro- dizajna, a signalizacija je napravljena od starih atian and regional design, and signalling was neispravnih tipkovnica. Rasvjeta je riješena made of old faulty keyboards. The lighting ekonomičnijim lampama za supermarkete te was created using more economical lamps for recikliranim podrumskim i uličnim lampama. supermarkets and recycled cellar and street Osmišljen je i novi sustav fleksibilnih instala- lamps. A new system of flexible installations cija nazvan ‘kompjuterski strop’. called ‘computer ceiling’ was also developed.

prostorne i grafičke intervencije i sistemi 306 croatian design review 1314

Amarin Holiday Village

art direktori / art directors Lana Cavar, Luka Predragović dizajn / design Luka Predragović suradnice / contributors Narcisa Vukojević (dizajn pisma / type design), Marina Mesar (ilustracija / illustration) naručitelj / client Maistra, Rovinj 05/2013

Identitetski sustav Amarin uključuje logotip The identity system Amarin involves the logo naselja, oblikovanje signalizacijskog sustava, of the settlement, the design of the signal- te dizajn tiskanih materijala za ugostiteljske ling system and the design of materials for the objekte. Logotip je konstruiran iz namjenski hospitality industry facilities. The logo was dizajniranog pisma Amarin temeljenog na designed using the typeface intended for this tipografiji korištenoj na pločicama s kućnim purpose, Amarin, which is based on the typog- brojevima iz različitih vremenskih razdoblja. raphy used on the plates with house numbers Ilustrativni elementi bazirani su na pet autoh- from different time periods. The illustrative tonih istarskih životinja: boškarin, ovca, pčela, elements are based on five autochthonous ani- gnjurac i tovar. Likovi životinja prisutni su i u mals from Istria: ox, sheep, bee, grebe and don- dizajnu promotivnih materijala za ugostitelj- key. These animals are also found in the design ske objekte i suvenire. Imena likova preuzeta of promotional materials for the hospitality su od rovinjskih zaštitnika i lokalnih toponima. industry facilities and souvenirs. The names of the characters stem from patron saints of Rovinj and local place names.

spatial and graphic interventions and systems 307 Pregled Hrvatskog dizajna 1314

Tipografija i signalizacijski sustav zagrebačkih ulica i kućnih brojeva / Typography and signage for Zagreb streets and house numbers

dizajn / design Nikola Đurek, Damir Bralić naručitelj / client Grad Zagreb 01/2013

Podloga za oblikovanje originalnog pisma nazi- The basis for designing original typeface for va Ilica bili su autentični tipografski detalji pi- the name Ilica were the authentic typographic sama koje nalazimo u potpisima arhitekata na details of typefaces we find in the signatures of pročeljima zagrebačkih secesijskih zgrada kao architects on the facades of Zagreb’s secession i pismovne forme iz povijesnog zagrebačkog i buildings, as well as in the fonts of the histori- hrvatskog grafičkog dizajna. Dok u detaljima cal Zagreb and Croatian graphic design. While zadržava eho početka hrvatskog moderniteta, the details retain the echo of the beginning dizajnirano pismo je suvremeno i oblikovno of Croatian modernity, the designed typogra- unutar tipologije signalizacijskih pisama, a i phy is contemporary and is formed within the u potpunosti je prilagođeno hrvatskom jeziku. framework of the typography of signalling. It is Sustav ploča zadržava uvriježeni koloristički also fully adapted to Croatian language. The sys- kod (plava boja), ali u slogu je suvremeniji i tem of plates maintains the usual colour code posebniji. On napušta centralnu os i redefini- (blue), but its type is much more contemporary ra anakroni okvir u liniju lijevog poravnanja. and special. It abandons the central axis and re- Oblikovane su i posebne ploče za označavanje defines the anachronistic frame as a line of left na prostoru Gornjeg grada koje slijede uspo- alignment. Special plates for signage in the area stavljenu logiku sloga, a poštuju koloristički of the Upper Town have also been designed. kod prisutan tradicionalno u gornjogradskoj These follow the established type logics and signalizaciji. respect the colour code present traditionally in the Upper Town’s signage.

prostorne i grafičke intervencije i sistemi 308 croatian design review 1314

Ki sit ki lačan – o prehrani u Istri

koncepcija izložbe i dizajn / exhibition concept and design Mauricio Ferlin koncepcija izložbe / exhibition concept Tajana Ujčić, Franko Lukež suradnici / contributors Tina Ivezić (dizajn / design), Tanja Draškić Savić (fotografija / photography), Robert Pauletta, Jakov Šuran (ilustracija / illustration) naručitelj / client Koordinacija istarskih muzeja, Arheološki muzej Pula / Coordination of Istrian Museum, Archaeological Museum Pula 07/2012

U muzejsko-galerijskom prostoru Sveta srca In the premises of the museum-gallery of the Arheološkog muzeja Istre (desakralizirana Holy Heart, belonging to the Archaeological crkva) predstavljeno je više od tisuću pred- Museum of Istria (desacralized church), more meta, petstotinjak fotografija i ilustracija, pet than a thousand items, five hundred photos rekonstruiranih ambijenata, jedanaest video and illustrations, five reconstructed environ- punktova (monitori i projekcije). Zahtjev pred- ments, eleven video points (monitors and pro- stavljanja opsežnog materijala na relativno jections) were presented. The requirement of malom izložbenom prostoru, generirao je presenting such an extensive material on a iskorištavanje vertikalnosti crkve te upotrebu relatively small exhibition area generated the stotinjak mehaničkih interaktivnih elemenata, exploitation of the church’s verticality and pretežno rotacionih i sklopivih, što je rezulti- the use of some hundred mechanical inter- ralo aktivnim gledateljskim pristupom. Inter- active elements, mostly rotational and fold- disciplinarna slojevitost same izložbe očitovala able, which then resulted in an active viewer’s se i u raznolikim, kombiniranim sustavima approach. The interdisciplinary stratification multimedijske komunikacije. of this exhibition is visible in the various combined systems of multimedia communication.

spatial and graphic interventions and systems 309 Pregled Hrvatskog dizajna 1314

Hostel Forum Zadar

dizajn / design Damir Gamulin arhitektura/interijer / architects/interior Toma Pleić, Lea Pelivan suradnica / contributor Melita Hrustić naručitelj / client Hostel Forum Zadar 08/2012

Vizualni identitet i prostorne grafike novog The visual identity and spatial graphics of the zadarskog boutique hostela nastali su u kon- new Zadar boutique hostel were created in a tinuiranom dijalogu različitih projektantskih continuous dialogue of different design pro- struka, uz ključno sudjelovanje samih investi- fessionals, with the key participation of the tora i zaposlenika samog objekta. Zajedničkim investor and employees of the hostel. Throu- promišljanjem dizajnera i arhitekata iz Studija gh the collective deliberation of the designers UP, linearno i repetitivno grafičko rješenje u and architects from Studio UP, the linear and potpunosti je integrirano u arhitektonsku repetitive graphic solution was fully integrated prostornu logiku objekta. Osim same funkcije into the architectural spatial logic of the pre- likovnog označavanja i brendiranja, ono je ko- mises. In addition to the function of graphic rišteno i za stvaranje optičke perceptivne igre marking and branding, the design was also used unutar koridora hostela koja ujedno komuni- to create an optical perceptual game within the cira kategorije smještaja po katovima. Hodni- corridors of the hostel, which also communi- ci su prostorno jednaki, a njihov promjenjivi cates with the accommodation categories on grafizam prenosi poruku i bez oznake samog each floor. The hallways are spatially identical, kata. Znak na fasadi koristi refleksiju metala and their changing graphism carries a message u kojem je izveden, tako da se transformira even without the marks of the floor number. odražavanjem svoje okoline. The sign on the facade uses the reflection of the metal from which it is constructed so that is transforms when reflecting its environment.

prostorne i grafičke intervencije i sistemi 310 croatian design review 1314

Gradska knjižnica Labin

dizajn / design Damir Gamulin arhitektura, interijer / architecture, interior design Margita Grubiša, Igor Presečan, Ivana Žalac naručitelj / client Grad Labin 10/2013

Osnovni element vizualnog identiteta, pro- The basic element of the visual identity, spatial storne grafike i signalizacije interijera nove graphics and signalization of the interior of the gradske knjižnice izvedenog u bivšem rudar- new town library constructed in the former skom kompleksu u Labinu, je modificirana mining complex in Labin, is the modifiedLa tipografija La Din, gotovo neprirodan spoj Din typography, unnatural combination of a hladnog industrijskog dojma i dekorativnih art cold industrial impression and decorative Art deco elemenata koji reflektira priču povijesnog Deco elements that reflects the story of the de- razvoja i transformacije rudarske industrije u velopment and transformation of the mining Labinu. Ovaj spoj stilova pronađen je analizom industry in Labin. This combination of styles slovnih artefakata industrijske baštine od sa- was created on the basis of the analysis of letter mog Labina do željezara u Sisku i Jesenicama. artefacts of the industrial heritage, from Labin Novonastala slovna baza s pripadajućim setom to the steelworks in Sisak and Jesenice. The piktograma korištena je u prostoru u skladu s newly developed letter basis with the correspo- ostalim interijerskim i eksterijerskim rješenji- nding set of pictographs was used in the space ma kroz sukladan odabir materijala. U sastavu in accordance with other interior and exterior knjižnice nalazi se i soba sjećanja u kojoj se na solutions through an according selection of ma- zastoru, sačinjenom od vodenih mlazova, pro- terials. The library also comprises a memorial jicira video sekvenca montirana iz arhivskog room in which a video sequence edited from materijala rudnika u Labinu. archive materials of mines in Labin is projected onto a surface composed of water jets.

spatial and graphic interventions and systems 311 Pregled Hrvatskog dizajna 1314

Prostori (su)djelovanja

dizajn / design Damir Gamulin, Antun Sevšek, Maroje Mrduljaš stručni savjetnici / expert advisors Nives Kozulić, Vladimir Mattioni, Melita Čavović suradnica / contributor Katarina Eljuga Žižić (dizajn/design) naručitelj / client Zavod za prostorno uređenje Zadarske županije / Urban Planning Institute of the Zadar County 04/2013

Prostorna prezentacija autorsko-kustoskog The spatial presentation of the authorial and projekta Maroja Mrduljaša, Antuna Sevšeka curator project of Maroje Mrduljaš, Antun i Damira Gamulina, koji analizira 20 godina Sevšek and Damir Gamulin, which analyses djelovanja Zavoda za prostorno uređenje Za- 20 years of the work of the Urban Planning darske županije. Izložba likovno interpretira Institute of the Zadar County. The exhibiti- razvoj prostornog uređenja koristeći novoana- on graphically interprets the development of liziranu, mapiranu i interpetiranu građu iz više urban planning using the newly analysed, ma- studija, projekata i planskih dokumenata, te je pped and interpreted structure from several dovodi u mjerilo samog posjetioca. Projektira- studios, projects and planning documents, and na je u modulima od 2m dužine koji, složeni brings it to in the scale of the visitors. The ex- kao redovi-slojnice, predstavljaju odabrane hibition was designed in modules that were 2 geografske i značenjske slojeve prostora Za- m in length, assembled as rows-contours, and darske županije. Postav je izveden iz stiropora represent selected geographic and semantic srednje tvrdoće, a nakon završnog postavljanja layers of the area of the Zadar County. The reciklira se u izvorno stanje kako bi se mogao exhibits were constructed from polystyrene of ponovno koristiti. medium firmness, which will be recycled after the exhibition and returned to their original condition so they can be used again.

prostorne i grafičke intervencije i sistemi 312 croatian design review 1314

Dječje igračke iz hrvatske baštine / Children’s Toys from Croatian Heritage

dizajn / design Nikolina Jelavić Mitrović suradnici / contributors Iris Biškupić Bašić (kustos / curator), Pero Mrnarević (ilustracija / illustration), Natalija Vasić (fotografije / photographs) naručitelj / client Etnografski muzej / Ethnographic Museum, Zagreb 12/2012

Izložba prikazuje tradicijski obrt izrade dječ- This exhibition shows the traditional craft jih igračaka u Hrvatskoj, a počinje najstarijim of toy making in Croatia and it begins with igračkama čuvanima u Muzeju. Te su igrač- the oldest toys held in the Museum. These ke izložene u starim muzejskim sanducima, toys are exhibited in old museum chests, just baš onako kako su i došle u Muzej. Posjetitelji like they first arrived to the Museum. Visitors prolaze kroz veliku mekanu barijeru poput pass through a huge soft lair-like barrier with brloga na kojoj se nalaze dvije okrugle rupe i two round holes and then they enter ‘another ulaze u ‘drugi svijet’. Veća je rupa za odrasle, a world’. The larger hole is for adults while the manja za djecu koja kroz nju mogu uskočiti u smaller one is for children who can jump thro- svijet igračaka. Izložbeni prostor podijeljen je ugh it into a world of toys. The exhibition area visećim platnima osnovnih boja koja stvaraju is divided with pendant canvases of primary kružne intimne prostorne cjeline. Osnova di- colours which create circular intimate spatial zajna je krug. Vitrine su također kružne osnove, units. The basis of design is circle. Glass cases a kroz kružne rupe posjetitelji vire i otkrivaju are also circular and visitors can take a peek njihov sadržaj. through the round holes located on these and discover their content.

spatial and graphic interventions and systems 313 Pregled Hrvatskog dizajna 1314

Stalni postav Gradskog muzeja Vukovar / Vukovar City Museum Permanent display

dizajn / design Nikolina Jelavić Mitrović suradnici / contributors Ružica Marić (koncept / concept), Pero Mrnarević (ilustracija / illustration), Zvonimir Pavković (3D) naručitelj / client Gradski muzej Vukovar / Vukovar City Museum 01/2014

Stalni postav Gradskog muzeja Vukovar nalazi The permanent display of the Vukovar City se unutar kompleksa Dvorca Eltz u Vukovaru. Museum can be found within the complex of Stalni postav prostire se na četiri kata Velikoga the Eltz Manor in Vukovar. It covers the area dvora u prostoru od 1600 kvadratnih metara i of four floors of the Veliki Dvor, 1600 square kronološki prikazuje povijest vukovarskog kra- meters, and it shows the history of Vukovar ja, od ledenog doba do današnjih dana. Postav area chronologically, from ice age to modern je kompleksan, interaktivan i na suvremen times. The display is complex and interacti- način prezentira zadane vrlo različite teme: ve, and it presents very different themes in arheološke, kulturno-povijesne, etnografske. a modern way: archaeological, cultural and historical, and ethnographic.

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Oblikovanje postava Urban IxD

studio Manufakturist dizajn / design Mia Bogovac, Matea Bronić, Maša Milovac, Kristina Volf naručitelj / client Sveučilište u Splitu / University of Split 05/2014

Sadržajno, izložba prezentira niz scenarija koji Content-wise, this exhibition presents a num- predviđaju specifične situacije u životima gra- ber of scenarios anticipating specific situati- đana tehnološki razvijenih gradova budućno- ons in the lives of citizens of technologically sti, te na njih odgovaraju svojim kreativnim developed cities of the future and provides rješenjem u formi priče ispričane videom ili responses to these through its creative so- artefaktom. Elemente postava čine simpli- lutions in the form of a story told through a ficirani nogari, kubusi te panoi praktični za video or an artefact. The elements of display sastavljanje, rastavljanje i transport, što po- are made of simplified kickstands, cubes and jednostavljuje proces postavljanja izložbe, te boards which are practical for assembling, di- postavljanje čini neovisnim o dizajneru. sassembling and transporting. This facilitates the process of exhibition setup and makes display independent of its designer.

spatial and graphic interventions and systems 315 Pregled Hrvatskog dizajna 1314

My Favorite CD Shop

dizajn / design Marko Rašić, Vedrana Vrabec suradnik / contributor Željko Marciuš (kustos /curator) naručitelj / client Željko Marciuš, Zagreb 10/2012

My Favorite CD Shop je izložba kolekcije 500 My Favorite CD Shop is an exhibition of a colle- glazbenih cd-a koje je odabrao povjesničar ction of 500 music CDs selected by art histo- umjetnosti i glazbenik Željko Marciuš sa su- rian and musician Željko Marciuš with the radnicima. Izložba i njen postav rekreiraju help of his collaborators. The exhibition and uzbuđenje pri kupnji omiljenog cd-a, još zapa- its display recreate excitement upon buying kiranog u celofan, a prostor galerije pretvoren a favourite CD, still wrapped in cellophane, je u ambijent s rukom ispisanim stihovima and the area of the gallery is turned into an koji zajedno sa samim omotima CD-a stvaraju environment with handwritten verses, which vlastiti glazbeni, vizualni i verbalni tijek misli. together with CD sleeves create own music, visual and verbal stream of consciousness.

prostorne i grafičke intervencije i sistemi 316 croatian design review 1314

Miroslav Kraljević – Retrospektiva / Miroslav Kraljević – Retrospective

studio Studio Rašić art direktori / art directors Ante Rašić, Marko Rašić, Vedrana Vrabec suradnici / contributors Željko Marciuš, Zvonko Maković, Biserka Rauter Plančić (kustosi izložbe/exhibition curators), Vedran Kolac (3D), Iris Poljan, Mateja Babić (izvedba crteža / drawings implementation) naručitelj / client Moderna galerija / Modern Gallery, Zagreb 12/2013

Ritam kretanja kroz različite teme dosad naj- The rhythm of movement through various veće retrospektive Miroslava Kraljevića posti- topics of the largest retrospective of Miroslav gnut je pažljivom podjelom na ‘bijele’ i ‘crne’ Kraljević to this day has been achieved by ca- dvorane, a pauze između pojedinih dionica refully dividing rooms into ‘black’ and ‘white’ čine autorske instalacije, odnosno zasebno di- ones while the breaks between sections are zajnirani prostori koji obrađuju glavne karak- made using the author’s installations, that is, teristike Kraljevićeve umjetnosti. Dvije takve separately designed spaces which elaborate takozvane interpretacijske sobe nazvane su on the main features of Kraljević’s art. Two Otkrivanje Kraljevića i Kako gledati Kraljevića. of these so-called interpretation rooms are Ova posljednja osmišljena je kao meditativni entitled Discovering Kraljević and How to look ambijent u kojemu se može sjesti, odmoriti i at Kraljević. The latter has been envisaged as a promisliti još jednom o umjetnikovom radu. meditative environment in which one can sit, Tehnikom 3d mapiranja prikazani su zanimlji- rest and think of the artist’s work. Using 3D vi detalji s umjetnikovih radova grupirani pre- mapping technique, interesting details from ma temama: animalizam, eros, grad, lice, oči, the artist’s works grouped across themes have ruke, sakralno itd. been shown: animalism, eros, city, face, eyes, hands, sacral etc.

spatial and graphic interventions and systems 317 Pregled Hrvatskog dizajna 1314

Umjetnički paviljon – od tradicije do suvremenosti / The Arts Pavillion – From Tradition to Contemporaneity

studio Studio Rašić art direktori / art directors Ante Rašić, Marko Rašić, Vedrana Vrabec suradnici / contributors Radovan Vuković (kustos / curator), Mladen Perušić, Maja Gorianc Čumbrek (stručni suradnici / expert assistants), Damir Martinec (izvedba / implementation), Iris Poljan, Mateja Babić (izvedba crteža / drawings implementation), Novena (virtualna šetnja / virtual walk), Ninoslav Kušter (rasvjeta / light), Ljama studio (montaža filmova / film editing) naručitelj / client Umjetnički paviljon u Zagrebu / Art Pavilion Zagreb 06/2013

U multimedijskoj interpretaciji dizajnera, ko- In a multimedia interpretation of the desi- rištenjem video i foto materijala, intervencija gner and using both video and photo materials, i prostornih instalacija, izložbene i arhivske interventions and spatial installations, exhi- dokumentacije te fragmenata arhitektonske bition and archival documentation and the ukrasne plastike ispričana je priča u povije- fragments of architectural plastics, a story of snom i suvremenom kontekstu o obnovi i mo- renewal and modernisation of the Arts Pavi- dernizaciji zgrade Umjetničkog paviljona kao lion building has been told in a both historical važnoj kulturnoj instituciji na prijelomu tisuć- and contemporary context, the Pavilion being ljeća. U prvoj cjelini prikazana je arhitektura an important cultural institution at the turn i umjetnička vrijednost zgrade kroz nacrte i of the millennium. The first part shows the foto dokumentaciju. Druga cjelina predstavlja architecture and artistic value of the building Paviljon kroz dokumentaciju održanih izlo- through drawings and photo documentation. žaba, dizajniranih kataloga, plakata i budućih The second part presents the Pavilion thro- programa te planova modernizacije zgrade koji ugh documentation of the exhibitions held, su predstavljeni multimedijskim sredstvima. catalogues designed, posters and future programmes and plans for the modernisation of the building which have been presented using multimedia.

prostorne i grafičke intervencije i sistemi 318 croatian design review 1314

Ivanina kuća bajke / Ivana’s House of Fables

koncept stalnog postava / permanent exhibition concept Dragana Lucija Ratković Aydemir dizajn postava / exhibition design Vanja Cuculić, Vladimir Končar, Vedran Kasap, Ivana Fabrio suradnici / contributors Nada Kujundžić, Dubravka Zima, Marijana Hameršak, Selma Kanazir (stručni suradnici / expert assistants), Kristina Špigl Uhrl (arhitekt / architect), Srđana Modrinić, Tomislav Lončarić, Ana Kovačić, Tena Letica Tkalčević, Ivo Matić (ilustracije / illustration), Maja Draganić (grafički dizajn / graphic design), Ozana Ursić (produkt dizajn / product design), Vjeran Šalamon (skladatelj / composer), Maja Posavec, Mario Mirković (audio zapisi stalne muzejske izložbe, glumci i aranžeri), Martin Grubić, Aleksandar Čiković (oblikovanje svjetla / light design) naručitelj / client TZ Grada Ogulina / Ogulin Tourist Board 12/2013

Ivanina kuća bajke otvorila je svoja vrata 2013., Ivana’s House of Fables opened its doors in u godini kada Hlapić, lik iz romana Ivane Br- 2013, in the year in which Hlapić, the character lić-Mažuranić slavi sto godina postojanja. To je from the novel by Ivana Brlić-Mažuranić cele- jedinstven multimedijalni i interaktivni centar brated its hundredth anniversary. It is a unique koji svojim stalnim postavom slavi bajke i baj- multimedia and interactive centre whose per- kovito stvaralaštvo, kako djela najznačajnije hr- manent display celebrates fairy tales and fairy vatske spisateljice bajki, tako i svih značajnih tale writing, as well as the works of the most hrvatskih i europskih pisaca i zapisivača bajki. significant Croatian female writer of fairy tales and all other Croatian and European writers and recorders of fables.

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modni i odjevni dizajn 320 croatian design review 1314

fashion and clothing design 321 Pregled Hrvatskog dizajna 1314

Kyoto black

dizajn / design Tamara Bombardelli samoinicirani rad / self-initiated work 02/2014

Torba omogućuje četiri različite vrste nošenja, The bag can be worn in four different ways, a za vlasnika može predstavljati neku vrstu and it can serve as a kind of interactive toy, so interaktivne igračke u kojoj svaki put može its owner can discover something new every otkriti nešto novo. Kao i kod London Bag, svi time the bag is used. Just like with the London elementi su potpuno odvojivi, a oblikom je Bag, all elements are completely detachable, prikladna i kao jastuk za putovanja, pa među and its shape makes it appropriate for use as kupcima ima i nadimak pillow bag. a travel pillow, so the customers already nic- knamed it the pillow bag.

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London bag

dizajn / design Tamara Bombardelli samoinicirani rad / self-initiated work 02/2014

Torba / ruksak London Bag unatoč razmjerno In spite of its relatively small dimensions, this malim dimenzijama ima veliki kapacitet zbog bag/backpack has a large capacity because of izbočine na sredini dobivene modeliranjem the bulge in the middle, made by modelling pamuka koji se nalazi među šavovima. Sve ruč- the cotton between the seams. All handles, ke, džepovi i ukrasi su potpuno odvojivi, što je pockets and decorations are completely de- izravno inspirirano ‘izokrenutom’ arhitektu- tachable, which is directly inspired by the ‘in- rom zgrade Lloyd’s u Londonu, kojoj su hodni- side-out’ architecture of the Lloyd’s building ci i liftovi smješteni izvan glavne kontrukcije. in London, where hallways and elevators are Ruksak, odnosno torba, može biti nošena na located outside the main construction. The četiri različita načina. backpack, or rather, the bag, can be worn in four different ways.

fashion and clothing design 323 Pregled Hrvatskog dizajna 1314

Clox Cake Collection

studio Clox kreativni direktori / creative directors Mia Marić, Igor Manasteriotti samoinicirani rad / self-initiated work 06/2012

Clox je prvi brend salonki s funkcionalnim Clox is the first pump shoes brand with a fun- satom zaštićen u Hrvatskoj i svijetu. Cipele ctional watch trademarked in Croatia and Clox dizajnirane su i proizvedene u Hrvatskoj, a worldwide. The Clox shoes were designed and priča o njima je zapravo priča o vremenu. Male are manufactured in Croatia, and the story of kazaljke oblikovane kao ženske noge ‘trče’ u these shoes is actually the story of time. Small krug ironizirajući užurbanost u životu svake hands shaped like a woman’s legs ‘run’ in circ- moderne žene koja iz dana u dan pokušava les, ironizing in the process the hurriedness in osvojiti malo više vremena za sebe. the life of every modern woman who spends her days trying to win a little more time for herself.

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Dioralop SS2014 Printed Cotton Drill Dress

studio Dioralop dizajn / design Andreja Bistričić, Maja Merlić samoinicirani rad / self-initiated work 09/2013

Kolekcije Dioralop inspirirane su polaroid fo- Dioralop collections were inspired by Polaroid tografijama nastalim namjernim razlijevanjem pictures made by intentional spillage of chem- kemikalija i njihovim izlaganjem različitim icals and their exposure to different tempera- temperaturama. Ova tehnika rezultira različi- tures. This technique results in various colours tim uzorcima i bojama koje se zatim digitalno and patterns, which are then digitally printed tiskaju u Ujedinjenom Kraljevstvu na različi- in the UK on a variety of luxurious fabrics. tim luksuznim tkaninama.

fashion and clothing design 325 Pregled Hrvatskog dizajna 1314

Unisex backpack

dizajn / design Patrizia Donà samoinicirani rad / self-initiated work 04/2014

Unisex Backpack brenda Laboratorio Donà novi The Laboratorio Donà’s Unisex Backpack is a new je proizvod iz serije torbi i asesoara inspiri- product from the bag and accessories line in- ranih pisaćom mašinom. Za razliku od do- spired by the typewriter. Unlike all previous sadašnjih modela torbi, za koje su korištene bag models, for which original typewriter originalne tipke pisaće mašine, za ovaj model keys were used, keys for this backpack model ruksaka tipke su dizajnirane za 3D print. Ruk- were designed for 3D print. The backpack is sak je izrađen od vodonepropusnog ripsa, a made of water-resistant rep, and the leather kožni trapezoidni panel u donjem dijelu daje trapezoidal panel placed at the bottom ensures čvrstoću forme i volumen. Osam različitih slo- firmness of form and volume. Eight different va i znakova u 3D printu dolazi u pet boja, a letters and characters in 3D print can be found završna obrada (bojanje) izvedena je u tvornici in five different colours, and the final finish Ghetaldus. (colouring) is done in the Ghetaldus factory.

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Međuprostor / Interspace

studio I-gle dizajn / design Martina Vrdoljak Ranilović, Nataša Mihaljčišin samoinicirani rad / self-initiated work 04/2012

Pletene forme u ovoj kolekciji oslobođene su The knitted forms in this collection are free strogih tjelesnih granica kroz kontrolirani teh- from strict physical boundaries through a con- nološki postupak otvaranja takozvanih ‘među- trolled technological process of opening the prostora’. Idejno polazište bilo je propitivanje so-called ‘interspace’. The conceptual starting uporabnog i modnog u kontekstu prirodnih point was questioning the utilization and the struktura i procesa razgradnje, raspadanja, ali fashionable nature in the context of natural i principa stalne promjene i kružnog kretanja. structures and the process of degradation Nepredvidljivost konačnog izgleda podcrta- and decomposition, but also the principle of na je nedefiniranim granicama unutar samog constant change and circular moving. The odjevnog komada. Na ovaj način izvedene su unpredictability of the final appearance is dvije, uvjetno rečeno, veste od prirodnih vla- underlined with undefined borders within kana vune i pamuka. the piece of clothing itself. In this way, two sweaters, so to say, were made of natural wool and cotton fibres.

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Crni volumen / Black volume

dizajn / design Morana Krklec samoinicirani rad / self-initiated work 03/2013

Ovi modeli su nastali za prezentaciju na reviji These models were made to be presented at kolekcije jesen/zima 2013/2014, a polaze od po- a fall/winter 2013/2014 fashion show, and kušaja dizajniranja iz pozicije korisnika kako bi they are based on an attempt to design from se uočili svi nedostaci odjevnog predmeta i po- the user’s perspective in order to recognize jačala njegova uporabna i estetska vrijednost. all shortcomings of a piece of clothing and Forma je stvorena potpunom ili djelomičnom intensify its utilization and aesthetic value. negacijom klasične konstrukcije u svrhu stva- The form is created by a complete or partial ranja novog, suvremenijeg, pročišćenijeg i pri- negation of the classical construction with the mjenjivijeg modela za svakodnevno odijevanje. purpose of creating a new, more contemporary, more purified and more applicable model for everyday wearing.

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Mad as a hatter

dizajn / design Tihana Mikša Perković samoinicirani rad / self-initiated work 05/2014

Do kasnog 19. stoljeća u procesu filcanja kori- Up until the late 19th century mercury was stila se živa. Otkriveno je da živa napada živ- used in the felting process. It was discovered čani sustav te uzrokuje trovanje, halucinacije that mercury attacks the nervous system and i psihotična stanja. Otuda dolazi termin mad causes poisoning, hallucinations, and psychot- as a hatter, ili šašavi klobučar. Kolekcija Mad as ic states. Hence the term mad as a hatter. The a hatter se sastoji od 9 pustenih kapa i šešira, Mad as a hatter collection consists of 9 felt caps unutar koje postoje četiri principa formiranja and hats, and there are four different prin- oblika. Skala boja je smirena, ‘zimska’, u jedno- ciples of forming shapes. The colour scale is ličnom intenzitetu, od više smeđih do sivih calm, ‘wintery’, in a uniform intensity, from tonova, kombinirajući lice i naličje materijala. brownish to grey tones, combining the two sides of the material.

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Hommages

dizajn / design Nenad Roban samoinicirani rad / self-initiated work 10/2013

Projekt je zamišljen kao svojevrsni hommage The project was envisioned as a kind of hom- različitim umjetnicima i dizajnerima. Za sva- age to different artists and designers. Each of kog od njih izrađena je ogrlica od drva čiji su them is represented by a wooden necklace, osnovni elementi identični – niz drvenih kocki the basic elements of which are identical – a čije su mjere 20×20×20 mm. Drvene kocke su sequence of wooden cubes with the dimen- zatim obrađivane i obojane u skladu s prepo- sions of 20x20x20 mm. The cubes are then znatljivim uzorkom koji je u svom radu kori- processed and painted according to a distinc- stila osoba kojoj je ogrlica posvećena. Dosad je tive pattern used by the person each necklace izrađeno deset ogrlica posvećenih, uz ostale, I. is dedicated to. Ten necklaces were made so far, Picelju, V. Richteru, A. Srnecu, G. Rietveldu, M. and they are dedicated to I. Picelj, V. Richter, Billu, D. Hockneyu, S. Hollu, itd. A. Srnec, G. Rietveld, M. Bill, D. Hockney, and S. Holl, among others.

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Woodoir noir

dizajn / design Sanja Rotter samoinicirani rad / self-initiated work 08/2012

Serija nakita nastala od otpadnog materijala A series of jewellery made of waste material iz stolarije Močvarni hrast. Oblici potječu iz from the Močvarni hrast woodwork shop. The naoko suprotstavljenih tipova formi: onih or- shapes originate in seemingly opposing types ganičkih nastalih rastom, razvojem, unutar- of forms: the organic forms, created by growth, njim naprezanjima, bolestima i parazitima; te development, internal efforts, diseases and onih geometrijskih – dobivenih standardnim parasites; and the geometric ones – created procesima obrade: rezanjem i lijepljenjem. Di- through standard woodwork processes: cut- zajnerska metoda korištena u izradi je direktna ting and gluing. The designing method used akcija, bez korištenja nacrta i skica, uz svjesno in the production is the direct action, without prihvaćanje slučajnosti oblika pronađenih ko- using drawings and sketches, with a conscious mada otpadnog drva. Posebna pažnja pridana acceptance of the randomness of shapes of the je kolorističkim efektima različitih boja drva, found waste wood pieces. Special attention is najfinijoj površinskoj obradi te reciklažnoj am- paid to coloristic effects of different colours balaži od kartona i piljevine. of wood, the finest surface treatment, and the recycling packaging made of cardboard and sawdust.

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Svjetlonosne forme, kolekcija nakita / Lightbearing Forms, jewellery collection

studio Superstudio29 dizajn / design Ira Payer, Ivana Brajdić, Ana Martina Bakić, Vjera Bakić suradnica / contributor Ivana Bačura naručitelj / client MSU / Museum of Contemporary Art, Zagreb 12/2013

Kolekcija srebrnog nakita inicijalno je dizaj- A collection of silver jewellery has been ini- nirana povodom istoimene retrospektive Vo- tially designed on the occasion of the retro- jina Bakića u Muzeju suvremene umjetnosti, spective exhibition of Vojin Bakić’s artwork a kasnije se razvila kao samostalni proizvod under the same title organized at the Museum namijenjen širem tržištu. Nakit je hommage of Contemporary Art in Zagreb. Later on it Bakićevom ciklusu skulptura nastalom u raz- has developed as a free-standing product for doblju između 1963. i 1967. godine, u kojem je broader market. The jewellery is designed visokoreflektirajuća metalna ploha podijelje- as homage to Bakić’s cycle of sculptures cre- na u konveksno-konkavne krugove. Krugovi ated in the period 1963 – 1967 with a highly u visokom sjaju reflektiraju okolni prostor, reflective metal surface divided into convex odražavaju igru punine i praznine, pozitiva and concave circles. Shining circles reflect i negativa te omogućuju ulaz prostora u plo- its surroundings reflecting the interplay be- hu skulpture. Pri dizajnu nakita korištene su tween fullness and emptiness, the positive brojne umjetnikove skice i studije. and the negative allowing the space to enter the surface of the sculpture. Bakić’s many sketches and studies were used during the design process.

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Sheriff & Cherry sunglasses

studio Sheriff&Cherry dizajn / design Mauro Massarotto naručitelj / client Sheriff&Cherry Sunglasses 12/2013

Black Rose je okrugli klasični model s mostom Black Rose is a classical round design with a inspiriran 90ima. Proizveden je od ručno bo- bridge and inspired by the 1990’s. It is made jane, najtanje silver nickel žice galvanizirane u of slimmest hand-coloured silver nickel wire ružičasto zlato, s krilima u kontrastnim boja- galvanized to pink gold with wings in con- ma i lećama boje breskve. Klasični Sheriff&- trasting colours and peach-coloured lenses. Cherry G11 model iz serije Mundijal, u bojama Classical Sheriff&Cherry G11 model from the hrvatske nacionalne zastave proizveden je od Mundijal series in the colours of the Croatian injektiranog ručno obojanog acetata s plavim national flag was produced from injected and zrcalnim lećama. Model Sheriff&Cherry G12 hand-coloured acetate with blue mirroring Lux ekskluzivno je predstavljen u suradnji s lenses. Sheriff&CherryG12 Lux was exclusively kultnom robnom kućom Liberty iz Londona. presented in collaboration with the cult Lib- Karakterizira ga rezani, za ovu prigodu poseb- erty fashion house from London. It is charac- no prilagođen talijanski acetat s Parsley cvjet- terized by cut Italian acetate modified only nim printom Patricia iz Liberty arhiva, zlatnim for this occasion with the Parsley floral print krilima i zlatnim zrcalnim lećama. of Patricia from the Liberty archives, golden wings and golden mirroring lenses.

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Greška u (monetarnom) sustavu / (Monetary) System Error

koncept i dizajn / concept and design Ivan Antunović samoinicirani rad / self-initiated work 12/2013

Rad je nastao kao neposredna reakcija na kon- The work was created as a direct reaction to troverzni referendum o braku iz 2013. godine, the controversial referendum on marriage kojim se tražilo uvođenje definicije braka kao from 2013, which sought the introduction of ‘životne zajednice žene i muškarca’ u Ustav RH the definition of marriage as a ‘union between te predstavlja autorov protest protiv onog što a woman and a man’ into the Constitution of vidi kao otvoreno širenje mržnje i predrasuda the Republic of Croatia, and it represents the od strane Katoličke crkve i pojedinih udruga. designer’s protest against what is seen as an Namjera rada nije osuđivati katoličku vjeru, open spreading of hatred and prejudice by the nego ukazati na neprihvatljive stavove upaki- Catholic church and certain organizations. rane u kontekst ‘ljubavi’, ‘tolerancije’, ‘zajedniš- The intention of the work is not to judge the tva’, ‘morala’ i ‘tradicije’, koji iskrivljavaju sam Catholic faith, but to point to unacceptable smisao vjere koju navodno zastupaju. attitudes packed up into the context of ‘love’, ‘tolerance’, ‘communion’, ‘moral’, and ‘traditions’ that distort the very meaning of faith they supposedly represent.

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Udentitet / Udentity

koncept i dizajn / concept and design Ivan Antunović, Neven Muretić samoinicirani rad / self-initiated work 12/2013

Udentitet je ironičan komentar dizajnera na Udentity is the designer’s ironic commentary problem rehabilitacije ustaštva u Hrvatskoj na on the issue of the rehabilitation of the Ustas- političkoj, kulturnoj i estradnoj sceni. ha ideology in Croatia on the political, cultural, and entertaining scenes.

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Sport, zdravlje, ugostiteljstvo, obrazovanje, kultura i rad / Sports, Health, Hospitality, Education, Culture and Work

koncept / concept Ivana Borovnjak kuriranje, tekstovi, izložbeni postav / curation, essays, exhibition design Ivana Borovnjak, Marko Golub grafički dizajn / graphic design Tina Ivezić fotografije / photographs Bojan Mrđenović suradnici / contributors Mladen Orešić, Anamarija Habjan 11/2013

Izložba je koncentrirana na tri linije proizvoda The exhibition concentrates on three product koje je za tvornicu Jadran 80-ih godina prošlog lines designed by Mladen Orešić in cooperati- stoljeća dizajnirao Mladen Orešić u suradnji s on with Marijan Orešić for the Jadran factory Marijanom Orešićem – Ergoline, Modres i Uni87. in the 1980s – Ergoline, Modres, and Uni87. In ad- Osim samih predmeta izložba uključuje i bo- dition to the items themselves, the exhibition gatu arhivsku i novoformiranu fotografsku also includes a rich archival and newly-formed i video dokumentaciju o procesu njihovog photographic and video documentation on the nastanka, kontekstu u kojem su proizvedeni process of their creation, the context of their i distribuirani te o njihovoj današnjoj svepri- production and distribution, and their today’s sutnosti i prepoznatljivosti. omnipresence and recognisability.

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Izgubljena stranica / Lost Page

studio Brlog kreativni direktori / creative directors Tin Kadoić, Tonči Klarić development Sanja Tubak, Mario Lončarić copywriter Srđan Laterza suradnica / contributor Jasna Manzoni (project manager) naručitelj / client Hrvatska gorska služba spašavanja / Croatian Mountain Rescue Service 03/2014

Ovim se projektom želi potaknuti čim veći broj This project aims to encourage as great num- vlasnika internetskih stranica u Hrvatskoj da ber of web page owners in Croatia as possible doniraju svoju takozvanu Error 404 ili izgublje- to donate their so-called Error 404 or lost page nu stranicu Hrvatskoj gorskoj službi spašavanja, to the Croatian Mountain Rescue Service and i time na simboličan način podrže one koji thus symbolically support those who give their daju sve od sebe volontirajući da bi pronašli best to volunteering in order to find people ljude izgubljene u nepristupačnim podneblji- lost in rugged terrains of the real world. This ma stvarnoga svijeta. Riječ je o projektu bez is a project that has no specific lifetime, and određenog vijeka trajanja, a njezin cilj je prije its primary aim is to raise the public awarene- svega osvijestiti javnost o važnosti GSS-a. Im- ss about the importance of the HGSS. By the plementacijom Izgubljene stranice na Error 404 implementation of the Lost Page, the Error 404 stranici pojavljuje se vizual koji podsjeća sve page displays a visual reminding everyone lost izgubljene na nekoj web stranici da u sličnim on web page that they can count on HGSS in situacijama u realnom svijetu mogu računati similar real-world situations. na GSS.

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Stavite se u njihove cipele / Put Yourselves in Their Shoes

agencija / agency Bruketa&Žinić OM kreativni direktori / creative directors Davor Bruketa, Nikola Žinić, copywriter Drago Mlakar scenografija Brigada, Damjan Geber (kreativni direktor / creative director), Marina Brletić suradnici / contributors Zrinka Jugec (account director), Ivana Drvar (account executive senior), Valentina Bugarin (account executive), Tamara Tomažić (fund raising officer – Unicef), Zoran Sabić (communications consultant – Unicef), Sanja Begović (sales assistant – Unicef) naručitelj / client Unicef Zagreb 05/2013

Niskobudžetna instalacija s ciljem prikuplja- A low-budget installation aiming to raise funds nja sredstava za UNICEF-ov program redovitih for the UNICEF regular donor program Guar- donatora Čuvari djetinjstva. Japanke izrađene dians of Childhood. Flip flops made of plastic od plastičnih boca, kakve nose najsiromašnija bottles, like those usually worn by poorest djeca na svijetu, su uz pomoć lanca trgovina children in the world, are displayed next to cipelama Je*s izložene tik uz najkvalitetnije the highest-quality shoe brands, thanks to the brendove cipela. Kupci su prilikom kupnje shoe store chain Je*s. When purchasing a new novih cipela mogli otvoriti trajni nalog za pair of shoes, customers can open a standing program Čuvari djetinjstva. order for the Guardians of Childhood program.

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Plakatiranje

koncept / concept Ivan Dorotić dizajn / design vidi dolje / see below naručitelj / client Vizkultura 04/2013

Plakatiranje je autorski projekt portala Vizkul- Postering is a project of the Vizkultura.hr web tura.hr u kojem pozvani dizajneri, ilustratori, portal where designers, illustrators, artists or umjetnici ili timovi autora kreiraju autorski teams are invited to create a poster regarding plakat aktualne tematike osmišljen isključivo various topics designed for the portal exclusi- za portal. U projektu su dosad sudjelovali: vely. So far, the project featured the following designers:

A. Labudović & M. Jocić, Babushke, BooBoo Tannenbaum, Bunch, D. Vuković, D. Dević & H. Živčić, D. Komparak, Drugo Uho, Dujmenović & Mlinarić, D. Janković, ĐukićPavlović, E. Baćanović, E. Jurov, Fahrenheit, Fiktiv, F. Pomykalo, Franić&Steković, Goeklektik., I. Kuduz, I. Antunović, I. Klis vs Damir Prizmić, I. Matić, I. Vrkaš, J. Bando & G. Monceaux, K. Zlatec & A. Z. Stolica, Kazinoti-Komenda, K. Grancarić & S. Mrkšić, Kuna Zlatica, L. Cavar & N. Vukojević, L. Vinković, L. Kovačević, L.Vucić, Manasteriotti∞Marić, M. Hrastovec, M. Prpić Zets, M. Raos, Mireldy, MKF&AT, N. Mihaljević, N. Bojić & G. Šoša, N. Đurek, N. Bačun & G. Jovanović, N. Turato, Oaza, OKO, O. Šuran, O. Franković/Flomaster, P. Vojković, P. Blažinčić, Poop Studio, Rootylicious, Sensus Design Factory, Sonda, Sretan Bor, S. Katunar, Studio Borčić & T. Prlenda, S. Tadić & L. Hrgović, Superstudio29, S. Sorić & H. Spudić, Šesnić&Turković, T. Letica/PAPERwork, T. Šarec, Utorak + L. Juras, V. Kasap & V. Cuculić, V. Klemens.

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City/data/future – interakcije u hibridnom urbanom prostoru / City/data/future – interaction in hybrid urban space

koncept / concept Carlos J. Gomez de Ilarena, Bronwyn Cumbo, Mads Hobye, Mara Balestrini, Sandro Engel, Ena Hadžić, Assunta Matassa suradnici / contributors Chris Hand, Tobias Revell (voditelji radionica / workshop leaders), Hrvoje Živčić, Sara Božanić (asistenti voditelja / assistant workshop leaders), Michael Smyth, Ivica Mitrović (voditelji projekta / project leaders), Ingi Helgason, Oleg Šuran (asistenti voditelja projekta / assistant project leaders) samoinicirani rad / self-initiated work 08/2013

Hibridni grad je tehnološki prošireni grad u ko- The hybrid city is a technologically expanded jem se digitalni krajolik stapa s našim stvarnim, city in which a digital landscape blends with fizičkim svijetom. Ovaj kontekst otvara nove our real, physical world. This context opens rasprave oko transparentnosti, vlasništva, gra- up new debates on transparency, ownership, nica, sigurnosti, kontrole, privatnosti i drugih boundaries, safety, control, privacy, and other tema. Odabrani projekti, nastali kroz kritičku issues. The selected projects, created through dizajnersku praksu, predstavljaju dizajn fikcija a critical design practice, represent the design koji spekulira o mogućim budućim scenariji- of fictions that speculates on possible future ma, koje mi, kao građani takvih gradova, mo- scenarios we, as the citizens of such cities, may žemo očekivati. Ameurasica je karta hibridnog expect. The Ameurasica is a map of a hybrid megalopolisa iz 2063. g. Aural Fixation je video megalopolis from 2063. The Aural Fixation is a scenarij koji spekulira o odnosu stanovnika i video scenario speculating on the relationship podataka koje takav grad prikuplja. Treći sce- between the population and data such city narij prikazuje grad budućnosti Auroru, te- collects. The third scenario depicts Aurora, a meljen na novoj karmičkoj ekonomiji. Radovi city from the future, based on a new karmic su nastali na ljetnoj školi održanoj u sklopu economy. The works were created in a summer projekta UrbanIxD na Sveučilištu u Splitu. school held within the UrbanIxD project at the University of Split.

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Skale do Sunca / Stairway to the Sun

koncept i dizajn / concept and design Stanislav Habjan dizajn postava / exhibition design Stanislav Habjan, Hrvoje Đukez koordinator projekta / project co-ordinator Hrvoje Đukez samoinicirani rad / self-initiated work 2012 – 2014

Galerija i radionica za umjetnost i dizajn pokre- The gallery and workshop for art and design nuta je u suradnji autora iz Umjetničke radioni- was launched in collaboration of the artists ce Petikat, mjesta Stara Novalja i Grada Novalje. from the Petikat Art Workshop, the town of Prostor u objektu pod zaštitom Ministarstva Stara Novalja, and the City of Novalja. The kulture dodijeljen je autorima na korištenje u space inside the object under the protection svrhu oblikovanja i predstavljanja projekata i of the Ministry of Culture was assigned to the proizvoda vezanih uz povijest, prirodu i ljude artists for use in the purpose of designing and Stare Novalje. Broj nekoliko godina ranije do- presenting projects and products related to kinutog poštanskog ureda 53297 usvojen je kao the history, the nature, and the people of Stara dizajnerski koncept Ex Post Officea, a na krov Novalja. The number 53297 of the post office male tvrđave instalirana je bijela zastava sa zna- that was closed down a few years earlier has kom Skala do Sunca. Samo u 2013. galerija Skale been adopted as the Ex Post Office designer do Sunca ostvarila je 7 autorskih izložbi i jednu concept, and a white flag with the emblem was večer projekcija kratkih autorskih filmova, te installed on the roof of a small fortress. The započela nekoliko višegodišnjih projekata ve- Stairway to the Sun Gallery realized 7 exhibi- zanih uz kulturnu baštinu Stare Novalje. tions and a short movie projection evening, and started several multi-year projects related to the cultural heritage of Stara Novalja, all this in 2013 solely.

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Balkan tiposistem / Balkan Type System

koncept i dizajn / concept and design Marija Juza, Nikola Đurek samoinicirani rad / self-initiated work 06/2012

Balkan je tiposistem koji objedinjuje latinično The Balkan is a type system combining the i ćirilićno pismo. Nastao je kao rezultat istraži- Latin and Cyrillic alphabets. It was created as vanja fenomena Balkan sprachbunda i zajednič- a result of research into the Balkan sprachbund kih svojstava južnoslavenskih jezika i pisama. phenomenon and common properties of the Osim što je ovaj tiposistem primarno font, on South Slavic languages and alphabets. Other je i automatski prevoditelj ili konverter hrvat- than being primarily a font, this type system ske latinice u srpsku ćirilicu i srpske ćirilice u is also an automatic translator, or rather a con- hrvatsku latinicu – sistem pomirbe različitih verter of the Croatian Latin alphabet into the pisama i edukativni softver, hibrid koji deko- Serbian Cyrillic alphabet, and vice versa – a dira oba pisma, depolitizira ih i demistificira u system of reconciliation of different alphabets, svrhu edukacije, tolerancije i najvažnije njiho- and an educative software, a hybrid decoding ve prvotne funkcije – komunikacije. both alphabets, depoliticizing and demysti- fying them with the purpose of education, tolerance, and their most important primary function – communication.

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Hex

dizajn / design Jelena Lukač Kirš, Jakov Šrajer naručitelj / client Prostoria Sv. Križ Začretje 05/2014

Hex je oblikovni koncept namještaja za sjede- Hex is a design concept for seating furnitu- nje. Igrom ojastučenih prizmi, traže se konfi- re. Configurations suitable for seating, lying, guracije pogodne za sjedenje, ležanje, igru, itd. playing, etc. are sought through a game played Projekt je nastao nakon zahtjeva za sistemom by upholstered prisms. The project was de- ojastučenog namještaja koji manipulacijom signed following a request for a system of dijelova zadovoljava funkciju sjedenja i ležanja. upholstered furniture fulfilling the function Intrigirani geometrijom jednakostraničnih of sitting and lying through manipulation of trokuta, dizajneri su razrađivali njihovu pri- components. Intrigued by the equilateral tria- mjenu na području namještaja. ngle geometry, the designers have elaborated on their application in the domain of furniture.

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Naš ormar / Our wardrobe

koncept i dizajn / concept and design Draga Komparak samoinicirani rad / self-initiated work 04/2014

Projekt je osmišljen u svrhu razmjene i distri- The project was designed with the purpose of bucije odjeće i obuće beskućnicima u javnom exchange and distribution of clothing and sho- prostoru, a cilj mu je podići javnu svijest o pro- es to the homeless in the public space, and its blemu beskućništva, kao i praktično rješavanje aim is to raise public awareness on the issue of problema sakupljanja, odnosno darivanja odje- homelessness, as well as a practical solution to će. Metalna konstrukcija sastoji se od dijela za the problem of collecting, or rather, donating vješanje odjeće, te traka koje pridržavaju dvije clothing. The metal construction consists of plastične, transparentne vreće. the part for hanging clothes, and of stripes holding two transparent plastic bags.

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MobilE

koncept i dizajn / concept and design Neven Kovačić, Vedran Jukić samoinicirani rad / self-initiated work 03/2014

Koncept MobilE neposredno je proizašao iz The MobilE concept stemmed directly from prvonagrađenog projekta za punionicu elek- the winning project for an electric car char- tričnih automobila na natječaju koji su raspisali ging station in a competition organized by HEP HEP i Grad Zagreb. S obzirom da se suradnja (the Croatian electrical power company) and na implementaciji rješenja nije ostvarila, pro- the City of Zagreb. Considering that the coope- jekt se nastavio razvijati u novom pravcu – kao ration on the implementation of the solution punionica električnih bicikala, koji se kroz du- has not yet been achieved, the development gotrajnu razradu pokazao kao znatno realnije of the project continued in a new direction – rješenje od prijašnjeg. Cilj je bio osmisliti sta- an electrical bicycle charging station, which nicu za brzo punjenje električnih bicikala koja through a long-term elaboration proved to će svojom pojavnošću utjecati na promjenu be a much more realistic solution than the percepcije mobilnosti u korelaciji s obnovlji- former one. The aim was to design a quick vim izvorima energije. electric bicycle charging station that would affect the change in perception of mobility regarding renewable energy sources through its incidence.

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(Est)etika nacionalizma – Dizajn za turbo-folk / (Aesth)etics of nationalism – Turbo-folk design

koncept i dizajn / concept and design Bojan Krištofić suradnik / contributor Marko Golub samoinicirani rad / self-initiated work 05/2014

Istraživački projekt analizira supkulturu tur- This research project analyses the turbo-folk bofolka s osnovom u glazbenom izrazu ka- subculture, with its basis in the musical rakterističnom za srpski društveni kontekst expression characteristic of the Serbian so- 90-ih godina. Riječ je o arhetipskom iskazu na- cial context in the 1990s. This is an archetypal cionalističke ideologije u post-jugoslavenskoj utterance of the nationalistic ideology in the pop-kulturi, koji je svoj pandan u hrvatskom post-Yugoslav pop culture, which had its coun- okruženju imao u ‘cro-danceu’, te popularnim terpart in the Croatian setting – the ‘Cro-dan- ratničkim i patriotskim budnicama iz prve ce music’ and popular warrior and patriotic polovice 90-ih godina. Izložba se fokusira na songs from the beginning of the 1990s. The dizajn vizualnih komunikacija kao važan ele- exhibition focuses on the visual communica- ment koherentnosti turbo-folk supkulture, tion design as an important element of the te one aspekte njegove metodologije koji su turbo-folk subculture coherence, and on those pridonijeli masovnoj popularnosti te glazbe aspects of its methodology that contributed među najširim slojevima stanovništva. to the mass popularity of this music among the population at large.

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My Dear Noble Friend

koncept i dizajn / concept and design Igor Kuduz samoinicirani rad / self-initiated work 05/2014

M o Y i b . H A I I V e g s . Ž v r R D H a a I ć l I M M o r . e a e a e E M a a m š f a e I y o e n l l W m l J A y m m j v I a c t t M a I S J d i I t e t i a a y e y I . i a a R y e e a y a i o b m S D a ʼ n d a o n o o . . l t n m r w e o n i g e s I e H g m s i a k z d u r u . w . o w i s I N a i d a a p - u d t u f a h O a g o i u v o b a e . a n o a o a O m s a j n e m n a o n o N r o w r A f d n i h s n c a I n e k n n m c B e s y a n t r a h o b l r x u A H v I l m f a o d h v e e e l t e i t o L s i s i a t n e i e i l R B o o i i H e a a n e i i w d n a b ž u E i A n c t o l v e o d Y e w r w s a r e r v b p l d d v v a t g y n e e P n s n a e e o n e p ć s p i u s l i a n a l a i m r n e e s o s o d t t n l t F a r m a I a e o o s b r P o a m n y d ! p f s o o i o y t d o f u w o a e R V b e a d t l D t y t m t r l e e R v r t o r ž m s o o o r t P m o I e p a o I e e m a a h e e p e y d O e e s u a c t o o o e i t u a r o a r e r a z e s n E s l n y l l j e t t u v a s J d a y r m a h m b t m t i k b l e . s r b n s e N e u d ! k a e h m h n e w n t E y m o n e a r o i m n w d b k m s . e r u e y D l s m i w f e e i o a a v C o o u f n a v o i s y o o e e a o . a a o w n c p o a i b j w y o e h n l i i a T u a o w p d i v i a w r a d w r P l j o f r a u n e e i e s a e i g t t n ? e t m t e o v j a d i p p r d i ž t f l l m o e r r I g r t t r v r a z i w i t k I n o i o a e n e š p i a i ? a t e r e y o a r t d b l e e h o t d r h n e o N g l m b r n s n č y c b s t h l o i a d n t o g r e d t j o i a e v a o g r r l h y a e c t d t e t o o j I f e s l u z n o a k y o i f n t a j t v n i Y e o r a e i o i k b u u m t y i n e i £ a n b o h n b o o o g i l e a f e s O s l r f n d t f i o r t e h o a l d k 2 n a o m d i e e j u P G r i j o t t U k d i r d i s i v o e e u m m o ! H e 3 d t g e w m v c e a ( o b n a u r i R i e i c m M c Y a b D E m A r R o a ! e . e i e a a u € d i a n j h n m t c , t d e w a r i n s e e h a g h n l m 8 m l p i l r u ć b l l k d e a o y o i C a h n i n t I r j p o b e p a 0 a y r f l s e o 4 A l o m v v o d O M n i d d c i a a a a O o t o p n . l 0 n i m e u K 5 l s n n ? e a u e z U o s s o e h t n n p r e u o d e , I r i a n t u 0 m o c r l a N l w w r o i v d d r t l t k i M s 0 i o r o a d . i n t i V T i e t s . N O p B L a E F R a I E N D o c a 0 s w d i r f s s u 0 g o n a j u B R m I o . e j š m t h r s j a y t l 0 a e n i l o z 0 h v f š e r o Y o b p . i M e e y h o o n p h o a s t e m i m 0 t a a m g ž e h $ £ o u d g e W o m o . G i o E t e d y j e , y c k i I j e j s a s w j n b i m e g . o s Č k U d r r r J e t 0 e n 6 z o n e p f v e 1 2 i e w i h e g n t . d e i R e o a f h a d h 0 d d 0 r š t a r e c 5 o , s o i h o f h m i s n e b n e e i i ) o % a d s i r . k 6 h i u d t i R l r i u e b s t g p b s r a d t n b v u r j i e a e 3 o 0 m l r n n E d e n ž v l i e a e l o i g i n n v e e t n t M 0 t e d u o d P y g a e e s t l a d k t n v I v a a i s l i d l i E , o g g L r s o a i n c i $ h i t i v 2 a j p o s u l U 0 j n e i Y F s v p y s o m k d a i n 3 r a d i f , m B e o , ž n l R 0 s e o o s o o i r b o o e t j t . i a j j t i $ 1 3 e r k n i g i 0 h t i d T u m t i o y d e o 2 s t e a n 1 4 1 n o s v o 1 . a m g r O n e a j d o s K y e t 0 i n t l d 8 2 $ 0 e j u e o a n , 0 r i i v o e d p t l e y u c o o l h 0 d o i e . , E t n 5 0 e l g i v a M a r h a r u i e y . e s v d 1 7 3 k i m b m k d o n d o l E t o i n w r i c o 0 g v a v 2 2 . i o a A a o m t s o j r l i p n j a y s a h u 0 r o c a y 1 8 5 l 4 b n d i n b i r t r e y o e g e n n t o r 0 a j š o , . m o 0 i c d l t r l u e t n r g t i e t d u e u 0 0 i s % t i r : a e d i e i s p o s M T k e p i r 0 0 l e . e k a o j l i o m a i v i h , t l r n i l 0 l o n l s t s n u o t š m y g q a m l o h i g m i a U i f a a s t a n T v t e r u e l u i v o c d S o : B c e e o t p e a s i H s n a v e d n g v a c i l h i e n m d o u a g c i r o a n a j l i c m t r e n n n y n e l s k n u n s e t a d d u s d e c m g n d r s e e t e r d

Knjiga My Dear Noble Friend Igora Kuduza re- The book My Dear Noble Friend by Igor Kuduz zultat je dugogodišnjeg autorovog sakuplja- is a result of the designer’s many years of colle- nja i arhiviranja neželjenih mailova. Autor cting and archiving spam emails. He appropria- u potpunosti prisvaja njihov sadržaj, layout, tes their content, layout, and typography com- tipografiju, te ih vjerno prevodi u svojevrsnu pletely, and translates them faithfully into a zbirku tekstova. Ovo je knjiga koju je napisao, kind of text collection. This is a book written, mjestimično preveo, i u većem dijelu oblikovao partly translated, and shaped for the large netko drugi. Knjiga o spamu je primjer dizaj- part by somebody else. The book on spam is na bez dizajna jednako toliko koliko i dizajna an example of the design without design, just knjige bez pisca, urednika i lektora. as much as of a design of a book without the writer, the editor, and the proofreader.

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Od doma do dizajna / From Home to Design

studio Kuna Zlatica dizajn / design Ana Kunej, Zlatka Salopek samoinicirani rad / self-initiated work 06/2013

Dom&Dizajn, mjesečnik Jutarnjeg lista o ure- The Dom&Dizajn (Home&Design), a monthly đenju interijera, arhitekturi i dizajnu zamolio magazine of the Jutarnji list daily dealing with je studio Kuna Zlatica da samostalno realizira interior design, architecture, and design asked jednu duplericu u sklopu časopisa. Tako se the Kuna Zlatica studio to realize a centrefold usred časopisa ispunjenog najboljim i najsku- within the magazine independently. In this pljim dizajnom našao podsjetnik na stvarnost. way, in the middle of the magazine abundant Prikazan je put dizajnerica od doma do dizajna, with the very best and the most expensive de- odnosno od kuće do studija, s dokumentira- sign, there was a reminder of reality. It shows nim napuštenim, praznim i devastiranim izlo- the designers’ way ‘from home to design’, or zima na tom putu. Ukupno 44 izloga ogledalo rather, from the house to the studio, accompa- su trenutne ekonomske situacije. nied by documented abandoned, empty, and devastated store windows on the way. A total of 44 windows mirror the current economic situation.

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Warning Labels

koncept i dizajn / concept and design Pero Mrnarević samoinicirani rad / self-initiated work 05/2014

Natpis upozorenja na kutiji cigareta stvara do- It would seem that warning lables on cigarette jam da, osim cigareta, za pojedinca u društvu boxes conye the message that apart from cig- ni nema većih opasnosti. Ništa manje raširene arettes there is no danger for an individual in i maligne pojave u društvu od pušenja, poput the society. Some much more widespread and sebičnosti, konformizma, prenaglašene am- malign social phonomena such as selfishness, bicije za političkom moći ili pak umjetničkom conformism, extensive ambition for political karijerom, također zaslužuju vidljivo istaknute power or a career in art also deserve to bear natpise upozorenja. Kontekstualno postavljeni visible warning labels. Set in different public u javni prostor, natpisi dodatno naglašavaju space contexts, warning labels additionally svoju poruku. focus attention on their message.

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S ruke na ruku / Hand to hand

studio Oaza koncept i dizajn / concept and design Nina Bačun, Ivana Borovnjak, Roberta Bratović, Maja Kolar, Maša Poljanec, Tina Ivezić samoinicirani rad / self-initiated work 01/2013

Koncept S ruke na ruku uključuje niz radova u The Hand to hand concept includes a series kojima studio Oaza istražuje različite aspekte of works in which the Oaza Studio explores hrvatske baštine i mogućnosti inovacije i rein- different aspects of the Croatian heritage and terpretacije unutar tog konteksta. Ova kolek- the possibilities of innovation and reinterpre- cija predmeta uspostavlja direktan odnos sa tation within this context. This collection of postojećim artefaktima iz obrtničke tradicije, items establishes a direct relationship with osuvremenjuje ih kroz nove tehnologije, daju- the existing artefacts belonging to the craft ći im tako nova značenja i funkcije. Posredna tradition, modernizes them through new te- kvaliteta ovakvog pristupa očituje se u aktivi- chnologies, thus giving them new meanings ranju i očuvanju zaboravljenih zanimanja te and functions. The indirect quality of such razmjeni znanja između dizajnera i obrtnika. approach is reflected in the activation and preservation of forgotten occupations, and in the knowledge exchange between designers and craftsmen.

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Lipa pamti – koncept Sjene / Lipa Remembers – the Shadow Concept

studio Offstudio, Skroz koncept i dizajn / concept and design Ana Banić Gottlicher, Maša Vukmanović (Offstudio), Margita Grubiša ,Ivana Žalac (Skroz) naručitelj / client Općina Matulji 09/2013

Memorijalna zbirka Lipa pamti s radom je za- The memorial collection Lipa remembers was počeo 1969. godine, 25 godina nakon teškog initiated in 1969, 25 years after heavy casual- stradanja sela Lipa u akciji specijalnih nacistič- ties of the village Lipa in a special Nazi squad kih odreda. Postojeće konzervirane ruševine action. The existing preserved ruins located koje se nalaze u neposrednoj blizini zgrade very close to the collection building were reco- zbirke svojom su pojavnošću prepoznate kao gnized, due to the building’s appearance, as an prikladan prostor za predstavljanje stradanja adequate space for presenting the sufferings Lipe. Unutar tlocrtnih gabarita ruševina for- of Lipa. Within the layout plan of the ruins, miraju se ‘duhovi’ zgrada u cjelovitim dimen- ‘ghosts’ of buildings are formed in complete zijama njihovih nekadašnjih interijera. Lagana dimensions of their former interiors. A li- vanjska opna pokriva dijelove prostora koji ghtweight outer membrane covers the parts izlaze iz ruševina, dok se konstrukcija uz stare of the space coming out of the ruins, while the zidove ne prekriva, a ruševine se predstavljaju construction by the old walls is not covered, kao dio postava. U drugom paviljonu formi- and the ruins are presented as a part of the ra se prostor za sadržaj koji dokumentirano display. A space for the content documenting iznosi priču o stradanju Lipe dok je u trećem the story of the sufferings of Lipa is formed in paviljonu sadržaj osjetilnog karaktera s nagla- the second pavilion, while the content in the skom na doživljaju i suosjećanju. third pavilion displays a sensory nature, with the emphasis on experience and compassion.

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Nagrada BOOKtiga / BOOKtiga Prize

studio Sonda kreativni direktori / creative directors Jelena Šimunović, Anselmo Tumpić, Sean Poropat dizajn / design Tina Erman, Martina Sirotić, Davorka Tumpić, Zvjezdana Vukić, Aleksandar Živanov, administracijska i tehnička podrška / administration and technical support Irena Kotiga naručitelj / client Gradska knjižnica Poreč 04/2014

Nagrada Booktiga godišnja je nagrada koju The Booktiga annual prize awarded by the Istarska županija dodjeljuje najčitanijem hr- Istria County to the most read Croatian author vatskom autoru u istarskim gradskim knjiž- in Istrian city libraries. The acknowledgement nicama. Priznanje je posve personalizirano za is completely personalized for each writer. Gi- svakog pisca. Kako se radi o nagradi čitatelja, ven that this is a readers’ prize, all readers from svi čitatelji iz 10 istarskih knjižnica koji su do- 10 Istrian libraries which contributed to the prinijeli odabiru najčitanijeg pisca, pozvani su selection of the most read writer are invited upisati svoje komentare na stranice knjige. Pi- to write down their comments on the book sac kao nagradu dobiva svoju pročitanu knjigu pages. As a prize, each writer gets back their koja se, zatvorivši puni krug autor-čitatelj-au- read book, which, closing the full author-rea- tor, vraća svome stvaratelju. der-author circle, returns to its creator.

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Balkan Floods

koncept i dizajn / concept and design Maja Subotić, Dragan Kordić, Orin Ivan Vrkaš, Niko Crnčević, Lea Jurin samoinicirani rad / self-initiated work 05/2014

Balkan Floods je niz dobrotvornih aktivnosti i The Balkan Floods is a series of charity activi- proizvoda nastalih u kontekstu katastrofalnih ties and products made in the context of the poplava u BiH, Srbiji i Hrvatskoj 2014. godine. catastrophic floods in Bosnia, Serbia and Croa- Prvi set proizvoda su majice koje reinterpreti- tia in 2014. The first set of products are T-shirts raju motive nematerijalne baštine poplavljenih reinterpreting the motives of the intangible krajeva. Poentilističkim vizualima pridružena heritage of the flooded areas. Pointillist visu- je i tipografska kompozicija Balkan Floods, bazi- als are joined by the typographic composition rana na pismu Balkan Sans Marije Juze i Nikole Balkan Floods, based on the Balkan Sans font Đureka, koji su svoju tipografiju donirali za by Marija Juza and Nikola Đurek, who have potrebe projekta. Majice je u sitotisku otisnuo donated their typography for the needs of the Adi Franković. Nakon Dana D, gdje se prvi put project. The T-shirts were silk screen printed predstavio, Balkan Floods nastavlja dalje prema by Adi Franković. After the D Day, where it prvom većem cilju stvaranja fundusa artefaka- was presented for the first time, theBalkan ta koji će se sakupiti u tematskom magazinu, Floods continues towards the first bigger goal monografiji i putujućoj aukcijskoj izložbi. of creating a fundus of artefacts collected in a thematic magazine, a monograph, and a travelling auction exhibition.

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T-Seat

koncept i dizajn / concept and design Ines Vlahović samoinicirani rad / self-initiated work 05/2014

Jastuk punjen suhim listovima lažine saku- A pillow filled with dry posidonia leaves colle- pljene na obali Jadranskog mora. Zbog svog cted at the shore of the Adriatic Sea. Due to kompleksnog sastava nastalog uslijed meta- its complex structure caused by metabolic boličkih procesa u moru te velikog udjela soli, processes in the sea and a large share of salt, morska trava ima izvrsna toplinska i zvučna sea weed has extraordinary thermal and sound izolacijska svojstva, otporna je na plijesan i insulation processes, it is resistant to mildew truljenje te je gotovo nezapaljiva. Otpale li- and rotting, and is almost inflammable. The stove do obale nose valovi i morske struje, a fallen leaves are carried to the shore by waves suše ih sunce i vjetar. Tako nam priroda sama and sea currents, and dried by the sunshine servira ovaj nepravedno zapostavljen, a vrlo and wind. In this way nature itself serves us kvalitetan i trajan materijal kojeg su i naši preci with this unjustly neglected, and yet a premi- s razlogom koristili. um quality permanent material used by our ancestors for a reason.

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Iskopavanja / Excavations

koncept i dizajn / concept and design Narcisa Vukojević, Lana Cavar samoinicirani rad / self-initiated work 06/2013

Iskopavanja su autorski istraživačko-izlagač- The Excavations is a research-based exhibiti- ko-interpretativni projekt koji za predmet uzi- on project dealing with the Croatian design ma hrvatsku dizajnersku baštinu u najširem heritage in the broadest sense, with the aim smislu i pokušava se njom baviti s ciljem us- of establishing referential and intertextual postavljanja referencijalnih i intertekstualnih connections with the contemporary practi- veza sa suvremenom praksom i teorijom dizaj ce and design theory. The historic period the -na. Povijesno razdoblje na koje su aktivnosti activities are predominantly focused on is the dominantno usmjerene je razdoblje između period between 1945 and 1990. An important 1945. i 1990. godine. Važna odlika projekta je in- feature of the project is an interdisciplinary/ terdisciplinarni/transdisciplinarni pristup di- transdisciplinary approach to design sources, zajnerskoj građi koji uključuje pogled na dizajn involving a view on design as a social pheno- kao na društveni fenomen industrijskog/po- menon of the industrial/post-industrial age. stindustrijskog doba. Dosad realizirani projek- Projects realized so far: Judge the book by its ti: Sudi knjigu po koricama (2011/2012.), Znakovi cover, Signs of production – production of signs. proizvodnje – proizvodnja znakova (2012/2013.). Projects in preparation: Informdesign, Politde- Projekti u pripremi: Informdizajn, Politdizajn, sign, DIZkurs, Typization and ORA educational DIZkurs, Tipizacija i ORA – obrazovne radionice. workshops.

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Teatar &TD / Theatre &TD

dizajn / design Dominik Markušić studij / school Studij dizajna / School of Design, Zagreb mentor Ivan Doroghy asistent / assistant Tomislav Vlainić 2013./2014.

Teatar &TD multifunkcionalni je kazališni Teatar &TD is a multifunctional theatre space prostor u zagrebačkom SC-u, otvoren za razne in the Zagreb Student Centre, open for vari- oblike izvedbenih umjetnosti, a ujedno je to i ous forms of performing arts. It is also a space prostor namijenjen i mladim, neafirmiranim intended for the young unestablished artists autorima i studentima. Eksperimentalni ka- and students. The experimental character of rakter Teatra &TD i negativan trend smanji- Teatar &TD and the negative trend of reducing vanja gradskih i državnih budžeta za kulturnu local and state budgets for cultural production proizvodnju (što se očituje u dvobojnom tisku) (evident in two-colour print) have affected the utjecali su na oblikovanje plakata za predstave final version of the posters for the plays I Hate Mrzim istinu, Ljevoruka i Rasprodaja. the Truth, Left-Handed and Sales.

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Sluškinje / Maidens

dizajn / design Mia Vučemilović, Adi Franković studij / school APURI, Rijeka mentor Aljoša Brajdić 2013./2014.

Plakat Sluškinje bio je namijenjen diplomskoj The poster Maids was intended for the gradu- predstavi studentica Poslijediplomskog spe- ation play by the students of the postgraduate cijalističkog studija ‘Gluma, mediji, kultura’ specialist study programme Acting, Media and u klasi prof. Rade Šerbedžije na Sveučilištu u Culture under the mentorship of prof. Rade Rijeci. Sluškinje su klasično dramsko djelo Jeana Šerbedžija at the University of Rijeka. Maids Geneta u kojem naslovne protagonistice žele is a classic drama by Jean Genet in which the otrovati svoju gospodaricu. Glavni element main characters wish to poison their mistress. plakata (spomenut u drami, ali ne i u predstavi) The main element of posters (mentioned in je proliveni čaj, simbol toplog napitka, otrova, the drama but not in the play) is spilt tea, a krvi, ali i obrisa čovjeka, te na kraju – smrti. symbol of warm beverage, poison, blood but Motiv ljudske figure nastao je slučajnim proli- also of the contours of a man, and finally – of jevanem čaja i intuitivno upotpunio simboliku death. The motif of human figure was created predstave. by accidental spilling of tea and was intuitively added to the symbolism of the play.

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Veli Jura

dizajn / design Jakov Šuran studij / school DVK UMAS, Split mentor Ivica Mitrović asistent / assistant Darko Kokić 2012./2013.

Veli Jura je animacija rađena kombiniranjem Veli Jura is an animation developed by combin- nekoliko tehnika animacije: frame by frame, ing several animation techniques: frame by stop-motion i računalna animacija. Pripovijeda frame, stop-motion and computer animation. o čovjeku-planini koji se kroz svoju svakodnev- It tells the story of a man-mountain who faces nicu suočava sa suvremenim eksploatacijskim contemporary exploitation society in his ev- društvom, kojemu je ono sâmo uvijek u prvom eryday life; a society which is always first and planu. most important to itself.

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Super mušica / Superwhim

dizajn / design Hana Tintor studij / school Studij dizajna / School of Design, Zagreb mentor Stipe Brčić asistent / assistant Luka Borčić 2013./2014.

Tijekom projekta promatrano je ponašanje ra- Over the course of the project, behaviour of zličitih ljudi koji imaju sklonost udovoljavanja different people prone to indulging a mostly nekoj uglavnom nevažnoj potrebi, kolokvi- insignificant need (a whim) has been observed. jalno ‘mušici’. Mušičave navike inspirirale su These capricious habits have inspired the cre- osmišljavanje likova za svaku od njih, koji su ation of characters for each of such forms of ilustrirani i stickerima aplicirani na mjesta u jav- behaviour and they have been illustrated and nom prostoru, te na društvene mreže. Likovi applied using stickers in public spaces and on su prikazani duhovito i nastoje oraspoložiti i social networks. The characters have been nasmijati prolaznike na ulici, potaknuti nas da presented in a witty way and their aim is to razmislimo o našim mušicama, da ih prihva- amuse and make passers-by smile, stimulate timo i odaberemo svoj lik ili izmislimo novi. us to think of our own whims, to accept them and choose our character or invent a new one.

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Institut Rođer Bošković / Ruđer Bošković Institute

dizajn / design Martina Ukić studij / school DVK UMAS, Split mentor Ljubica Marčetić Marinović asistent / assistant Nikša Vukša 2012./2013.

Zbog širokog polja djelovanja, vizualni iden- Due to a vast array of activities, the visual identitet Instituta Ruđer Bošković zahtijeva pri- tity of the Institute Ruđer Bošković requires lagodljivost raznim sadržajima. Bitna stavka adaptability to various contents. An important novog identiteta je jednostavnost oblika, dok element of the new identity is the simplicity of je logotip nastao na temelju grafa koji se u the form, whereas the logo has stemmed from empirijskim znanstvenim istraživanjima ko- a graph used in empirical scientific studies to risti kako bi zabilježio početnu točku mjere- denote a base point of measurement as well nja i svaku naknadnu promjenu. Korišteni su as each subsequent change. The initials of the inicijali Instituta, IRB, kao početna, srednja i name of the Institute IRB have been used as krajnja međusobno povezana točka. Ferlauf the initial, middle and final linking point. Gra- se koristi kao bitan dio cijelog identiteta jer dient is used as an essential part of the overall on također prati teoriju grafa: početak–pro- identity, as it also follows the graph theory: mjena–završetak. beginning – change – end.

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Sjeme / The Seed

dizajn / design Martina Ukić studij / school DVK UMAS, Split mentor Ljubica Marčetić Marinović 2012./2013.

Prioritet redizajna ambalaže za sjeme bilo je The priority of seed package redesign was er- funkcioniranje u ergonomskom smislu. Ljev- gonomic functioning. The funnel shape of the kasti oblik ambalaže smanjuje nepoželjno package reduces the undesired seed loss from ispadanje sjemena iz vrećice. Ilustracije na the bag. The illustrations on the front side are prednjoj strani načinjene su od rastera sjeme- made of a raster of the seed found within the nja koje se nalazi unutar vrećice i formirane bag and they form the final fruit which grows su u oblik ploda koji iz njih izraste. Cilj je bio from the seed. The aim was to design a package oblikovati ambalažu koja će djelovati prirod- which would seem more natural and inter- nije i zanimljivije nego uobičajene vrećice, te esting than the usual bags and which would eventualno potaknuti ljude da sami sade svoju stimulate people to sow their own food. hranu.

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John Maus – We Must Become the Pitiless Censors of Ourselves

dizajn / design Lana Grahek studij / school Studij dizajna / School of Design, Zagreb mentori / mentors Damir Bralić, Nikola Đurek 2012./2013.

John Maus je američki avangardni glazbenik. John Maus is an American avant-garde musi- Glazba koju stvara je suvremeni pop protkan s cian. The music he creates is a contemporary klasičnim strukturama i principima (npr. sred- pop interwoven with classical structures and njovjekovne fuge, četveroglasje itd). Kvadratni principles (for example, medieval fugues, four format CD ovitka percipiran je kao pop – pri- voice canons etc.). The square format of CD hvaćamo ga zdravo za gotovo. Unutar kvadrat- cover is perceived as pop – we take it for grant- nog formata događaju se razni pomaci, poput ed. Within this format, there are various shifts, različitih savijanja, a kvadrat je shvaćen i kao such as bending, and the square also corre- jedna minuta pjesme. Podijeljen je na 6 dije- sponds to one minute of the song. It is divided lova po 10 sekundi, te se u skladu s Mausovim into 6 parts, each 10 seconds of duration, and pjevanjem riječi pojavljuju unutar zadanog in line with Maus’ singing the words appear okvira, interpretirane tipografski. Ovitak je within the given framework, interpreted typo- složen tako da ga korisnik otvara kako god graphically. The cover is folded in such a way želi. To je svojevrsni neistraženi teritorij koji that the user can open it in any way desired. It korisniku dopušta da ga sam istraži i u njemu is a kind of unexplored territory for the user se izgubi. to explore on his/her own and to get lost in it.

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Deerhunter – Weird Era Cont.

dizajn / design Alma Šavar studij / school Studij dizajna / School of Design, Zagreb mentori / mentors Damir Bralić, Nikola Đurek 2012./2013.

Dizajn omota ploče nastoji vizualizirati zvuk The design of the gatefold sleeve of this vinyl shoegaze glazbe, karakterističan za bend. To se attempts to visualize the sound of shoegaze postiglo slojevitim preklapanjem papira s tek- music, which is typical for the band. This has stovima pjesama, pri čemu nastaje raspršena i been achieved by folding the paper with lyrics, teško razlučiva organička struktura. No kad se creating thus a dispersed and difficultly per- omot razmota, cijeli layout postaje jasan i čitljiv. ceived organic structure. However, when the Budući da je za shoegaze specifično eksperi- sleeve is unfolded, the entire layout becomes mentiranje efektima koji svaki put rezultiraju clear and legible. Since it is typical of shoegaz- blago drugačijim zvukom, oblikovano je pet ing to experiment with the effects which re- varijanti omota s različitim rasporedom sadr- sult each time in a mildly different sound, five žaja i pet varijanti natpisa na pločama, što omo- variants of the cover have been designed with gućuje mnogobrojne kombinacije omot-ploča. different layouts of the content, as well as five Budući da je zbog ljudskog faktora presavijanje variants of the writings on the vinyls, which papira svaki put malo drugačije, svaki je pri- enables multiple combinations of the sleeves. mjerak jedinstven. Given the human factor, paper folding is every time different making each copy unique.

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Spomenar / Scrapbook

dizajn / design Tessa Bachrach Krištofić studij / school Studij dizajna / School of Design, Zagreb mentor Ivan Doroghy asistent / assistant Tomislav Vlainić 2012./2013.

Spomenar je tiskani vodič kroz javnu plastiku Scrapbook is a printed guide through public grada Zagreba, njegove spomenike i skulpture sculpture of the City of Zagreb, its monuments u eksterijerima, a namijenjen je prvenstveno and sculptures in exteriors, and is primarily osnovnoškolskoj djeci. U svaki primjerak vodi- intended for elementary school children. Each ča uključene su mape dijelova grada, ispunje- copy of the guide includes maps of the city’s ne zanimljivim informacijama o spomeniku/ areas, along with interesting information on skulpturi, odnosno njezinom autoru/ici, i mo- the monument/sculpture or its artist, as well tivu ili osobi koju predstavlja. Svrha projekta as on the motif or the person it represents. je ciljanu, ali i širu publiku (roditelje djece i The purpose of the project is to spark inter- njihove obitelji) zainteresirati za javnu plastiku est in public sculpture and cultural heritage it i kulturno nasljeđe koje predstavlja. represents in both the target and broader audience (children’s parents and their families).

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Knjiga letteringa / Book of Lettering

dizajn / design Lana Grahek studij / school Studij dizajna / School of Design, Zagreb mentor Nikola Đurek asistent / assistant Damir Bralić 2012./2013.

Ručno uvezena knjiga letteringa nastalih u A hand bound book of the letterings created sklopu kolegija Dizajn fonta i kaligrafije 2, pod as a part of the course Font and Calligraphy mentorstvom prof. Nikole Đureka. Design 2 under the mentorship of professor Nikola Đurek.

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(Ne)svrstano / (Un)classified

dizajn / design Lana Grahek studij / school Studij dizajna / School of Design, Zagreb mentor Ivan Doroghy asistent / assistant Tomislav Vlainić 2012./2013.

Publikacija (Ne)svrstano nastala je iz potrebe za The publication (Un)classified was created out stvaranjem platforme za slobodno izražavanje of a need to develop a platform for the free mladih, zbog nedostatka istih na sceni, ali i do- expression of youth due to the lack of these kumentiranja ‘trenutka u vremenu’. Oblikova- on the scene but also because of the need to na je tako da sudionicima daje prostora koliko record ‘a moment in time’. It is designed in žele i trebaju, bez interveniranja u sam sadržaj. such a way that it provides to participants as Svim materijalima dan je poseban tretman much space as they desire and need, with no oblikovanja, ali sa zajedničkim nazivnikom. intervening in the content. All materials are Publikacija je također i eksperiment u tome specifically treated but they share a common kako sa što manje sredstava postići što više, te denominator. The publication is also an exper- je printana na crno-bijelom kućnom printeru iment as to how to achieve maximum with as zbog malih troškova i mogućnosti umnožava- little funds as possible and is therefore printed nja. Središnja duplerica jedini je dio koji sadrži in black and white on a home printer due to fotografije u boji, kako bi reprodukcija mate- low costs and the possibilities for multiplying. rijala bila što vjernija originalu. The centrefold is the only part containing colour photos in order for the reproduction of the material to be as faithful as possible to the original.

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William S. Burroughs: Naked Lunch

dizajn / design Lana Grahek studij / school Studij dizajna / School of Design, Zagreb mentori / mentors Damir Bralić, Nikola Đurek 2012./2013.

William S. Burroughs jedan je od izumitelja William S. Burroughs is one of the inventors of literarne tehnike cut-up – nakon što napiše the literary cut-up technique – after he writes priču, pisac je isjecka na komadiće, izmiješa i a story, he cuts it in pieces, mixes them and ponovno složi u novu kompoziciju. Taj princip rearranges them in a new composition. This iskorišten je i u oblikovanju ove knjige. Kako principle was used to design this book. In bi se čitatelju omogućilo da jednostavno i brzo order to make it easier for the reader to find nađe imena poglavlja, ona su istaknuta duž quickly the names of the chapters, these have lijevih stranica tijekom cijele knjige. Knjiga been clearly presented along the left pages je izrezana u serije malih vinjeta, tako da čita- throughout the entire book. The book has telj lako i brzo prolazi kroz njih, te elastičnim been cut up into a series of vignettes so that uveznim koncem kroz knjigu kroji svoj vlastiti the reader can find his way easily and swiftly labirint. through these, and using an elastic binding thread he can create his own maze.

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TŽV Gredelj – Karel Martens hommage

dizajn / design Lana Grahek studij / school Studij dizajna / School of Design, Zagreb mentori / mentors Damir Bralić, Nikola Đurek 2012./2013.

Rad je hommage Karelu Martensu, nizozem- This work is homage to Karel Martens, a Dutch skom dizajneru koji se u svome opusu, između designer whose opus also included the aes- ostalog, bavi estetskom dimenzijom odbačenih theticism of scrapped machinery and waste strojnih elemenata i otpadnog materijala pri- materials collected in printer offices, construc- kupljenog u tiskarama, gradilištima i ostalim tion sites and other industrial facilities. While industrijskim postrojenjima. Dok je Marten- Martens’ motivation is essentially of formal sova motivacija uglavnom formalno-estetske and aesthetic nature, when transposed to lo- prirode, ista projektantska metoda prenesena cal conditions this design method assumes a na domaći teren dobiva dimenziju društvene dimension of social criticism and reflection kritike i refleksije na nedavnu prošlost, od- upon the recent events, or better yet, upon nosno na još uvijek tekući proces društvene i the on-going process of social and economic ekonomske tranzicije. transition.

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Dotakni Dioklecijanovu palaču / Touch the Diocletian’s Palace

dizajn / design Nikola Križanac studij / school DVK UMAS Split mentor Nikola Đurek 2013./2014.

Vodič za slijepe i slabovidne osobe projektiran A guide for the blind and visually impaired je kao knjižica koja pomoću karte, legendi i persons is designed as a book which uses maps, teksta pruža informacije o znamenitostima legends and text to provide information on unutar Dioklecijanove palače, dostupnima ta- the points of interest within the Diocletian’s kvim osobama zahvaljujući taktilnoj percep- Palace and such information is made available ciji. Na karti su označene i u vodiču opisane to these persons thanks to tactile perception. lokacije na kojima se nalaze potpisi graditelja The map contains and the guide describes the Palače na zidovima Dioklecijanovih podruma. locations on which the signatures of the build- Pri realizaciji rada, uslijed oskudnih materija- ers of the Palace are still present on the walls la i literature, te nepostojanja sličnih vodiča, of the Substructure of the Palace. As materials ostvarena je suradnja sa slijepom osobom, kako and literature were scarce and similar guides bi konačan proizvod poprimio sasvim funkci- were unavailable, collaboration with a blind onalan oblik. person was established in order for the final product to be fully functional.

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Na Drini ćuprija / The Bridge over the Drina

dizajn / design Nikola Križanac studij / school DVK UMAS, Split mentor Nikola Đurek 2012./2013.

Dizajn knjige Na Drini ćuprija Ive Andrića The design of the book The Bridge over the Drina usredotočen je na 24 inicijalna slova svakog by Ivo Andrić focuses on the 24 initial letters of poglavlja, koja mogu funkcionirati kao zasebne each chapter which may well work as separate priče. Oblikovanju je prethodilo istraživanje o stories. The design was preceded by a research četiri religije na području Bosne i Hercegovi- on four religions on the territory of Bosnia ne, a koje se isprepliću u knjizi: pravoslavlje, and Herzegovina which are intertwined in the kršćanstvo, židovstvo i islam. U svako slovo book: Orthodox Christianity, Catholicism, Ju- uneseni su simboli koji obilježavaju kulturu daism and Islam. Each letter entails symbols pojedine religije: iz Sarajevske Hagade, islam- reflecting a culture of a specific region: from ske i pravoslavne ornamentike, te tetovaža s the Sarajevo Haggadah, Islamic and Orthodox kojima su se označavale Hrvatice kršćanke na ornaments, to the tattoos used by Christian području BiH. Croatian women in the area of B&H.

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Ćelava pjevačica / The Bald Soprano

dizajn / design Alma Šavar studij / school Studij dizajna / School of Design, Zagreb mentori / mentors Damir Bralić, Nikola Đurek 2012./2013.

Eksperimentalna verzija prijeloma knjige The experimental version of the layout of the Ćelava pjevaćica Eugenea Ionesca koncentrira book The Bald Soprano by Eugene Ionesco fo- se na prenošenje efekta začudnosti koji ka- cuses on transposing the wonder effect that is rakterizira žive izvedbe dramskih djela teatra typical of live performances of plays belonging apsurda. Svakom licu je pridružen određeni to the theatre of the absurd. Each face is asso- nagib i pozicija teksta na stranici, te specifična ciated with a certain slope and position of the tipografija. Rezultat je svojevrsni organizirani text on the page, and with specific typography. kaos u kojem replike lete sa svih strana, te koji The result is a kind of organised chaos in which prema kraju djela sve više i više raste, kao i u replicas are scattered all over the place and samoj predstavi. U knjizi su skriveni i dodatni which grows as the end of the book nears – just apsurdni elementi koji imaju funkciju istovre- like in the play. The book also contains hidden meno zbuniti i zabaviti čitatelja. and additional elements of the absurd which aim at perplexing and amusing the reader at the same time.

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Homage: El Lissitzky

dizajn / design Alma Šavar studij / school Studij dizajna / School of Design, Zagreb mentori / mentors Damir Bralić, Nikola Đurek 2012./2013.

Lazar Markovič Lisickij (1890. – 1941.), poznatiji Lazar Markovič Lisickij (1890 – 1941), known kao El Lissitsky, bio je ruski slikar, arhitekt, as El Lissitsky, was a Russian painter, architect, grafičar, tipograf i fotograf. Ovaj je rad inter- graphic artist, typographer and photographer. pretacija jednog od autorovih najpoznatijih This work is an interpretation of one of his dizajnerskih radova, prijeloma zbirke poezije most famous design works, the layout of the Na sav glas ruskog futurističkog pjesnika Vla- collection of poetry For Reading Aloud by the dimira Majakovskog. Praktički je ponovljen Russian futurist poet Vladimir Mayakovski. autorov proces rada na istom izvorniku (u The artists process of work was practically prevedenom obliku i latiničnom pismu), pri repeated using the same original (translated čemu se pjesnikov jezični konstrukt nadopu- and in Roman alphabet), where the poet’s lan- njava dizajnerskim vizualnim konstruktom guage construct is combined with the design- – ilustracijama oblikovanima u tipografsko-su- er’s visual construct – illustrations designed prematističkoj maniri. in typographic-supremacist manner.

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Croata

dizajn / design Matea Brkić studij / school Studij dizajna / School of Design, Zagreb mentor Nikola Đurek 2013./2014.

Pismo Croata jest revival uglate glagoljice, The typeface Croata is a revival of the angular tradicionalnog srednjovjekovnog hrvatskog Glagolitic alphabet, the traditional Medieval pisma. Cilj je bio stvoriti suvremeniju i čišću Croatian alphabet. The aim was to create a tipografiju koja će zadržati osnovne karakte- more contemporary and purer typography ristike glagoljice, uz istaknutu edukativnu di- which would retain the main features of the menziju. Croata broji 11 rezova – pored regulara Glagolitic alphabet and exhibit a clear edu- koji je nositelj identiteta pisma (s 226 ligatura), cational dimension. Croata counts 11 font tu je i stencil rez, te ostali. Također, pismo broji weights – apart from the regular, which is dva slojevita reza, gdje se jedan sastoji od dva, the carrier of the typeface identity (with 226 a drugi od tri međusobno kompatibilna layera ligatures), there is also a stencil style, as well tipografije. as some other. In addition to this, the typeface counts two layered styles; one made of two and the other made of three mutually com- patible type layers.

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Gabor

dizajn / design Lana Grahek studij / school Studij dizajna / School of Design, Zagreb mentor Nikola Đurek asistent / assistant Damir Bralić 2012./2013.

Gabor je revival tipografija inspirirana naslov- Gabor is a typeface revival inspired by book nicama knjiga iz 1960-ih, koje je dizajnirao Zol- covers of the 1960s designed by Zoltan Gabor. tan Gabor. Ima tri širine – condensed, regular i It has three widths – condensed, regular and wide, a svaka od njih sadrži još četiri varijacije wide, and each contains four more variants – – regular, inline, outline i light. Projektiranje svih regular, inline, outline and light. The design of tih varijacija i širina neposredno je proizašlo iz all these variants and widths directly stemmed istraživanja vizualnih i tipografskih elemenata from a research of visual and type elements s Gaborovih naslovnica. from Gabor’s covers.

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Roland

dizajn / design Nikola Križanac studij / school DVK UMAS, Split mentor Nikola Đurek 2012./2013.

Roland je tipografija niskog kontrasta nastala Roland is a type family of low contrast de- prema konstrukciji translacije. Odlikuju je ka- veloped as per translation construction. It ligrafski detalji posebno naglašeni u kurzivu, boasts calligraphy particularly emphasized koji kombinirani s oštrim detaljima i ravnim in italics, which combined with sharp details potezima ostavljaju odmjeren dojam potreban and straight lines leaves a measured impres- za njenu prvotnu namjenu – prijelom knjige sion required for the original intention – the Rolanda Barthesa Svijetla komora. Pogodna je layout of the book by Roland Barthes Camera za upotrebu u knjigama, časopisima i srodnim Lucida. It is convenient for books, magazines tiskovinama. and associated printed materials.

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Nantes

dizajn / design Luka Reicher studij / school Studij dizajna / School of Design, Zagreb mentor Nikola Đurek 2013./2014.

Nantes je display font sistem i mikrotipografski Nantes is a display font system and a microty- alat koji korisniku omogućava da jednostavnim pographic tool which allows users to combine kombiniranjem rezova dobije grafički zani- fonts in a simple way obtaining graphically mljive makrotipografske rezultate. Font se interesting macrotypographic results. The sastoji od dva dizajnom različita reza sličnog font is made of two different styles of a simi- karaktera, koji se mogu međusobno kombini- lar character which can be mutually combined. rati. Konstrukcija fonta proizašla je iz poteza The font construction resulted from a paint- kistom koji je i odredio njegov izgled i detalje. brush stroke, which determined its appear- Namijenjen je oblikovanju za različite subjek- ance and details. It is intended for design for te neformalnog karaktera. Također, podnosi various informal subjects. Furthermore, it can upotrebu u različitim kontekstima (logoti- be applied in various contexts (logos, posters, pi, plakati, ambalaže, natpisi...). Svi rezovi, i packages, inscriptions...). All weights, lower verzali i kurenti, dijele zajedničku visinu koja and upper cases, have the same height which omogućava međusobno kombiniranje i kom- allows their combinations and more compact paktnije komponiranje natpisa. compositions of inscriptions.

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Ism

dizajn / design Alma Šavar studij / school Studij dizajna / School of Design, Zagreb mentor Nikola Đurek 2013./2014.

Ism je tipografski sustav inspiriran avangar- Ism is a typeface system inspired by the dnim umjetničkim pravcima, to jest ‘izmima’ avant-garde art movement, that is, the ‘isms’ s početka dvadesetog stoljeća. Sustav broji šest of the beginning of the twentieth century. The rezova oblikovanih prema zajedničkom kostu- system counts six weights designed according ru temeljenom na primjerima natpisa iz tog to a common basis founded on the examples of razdoblja. Svaki se rez nastoji konceptualno the inscriptions from this period. Each weight referirati na pravac koji predstavlja i prenijeti tends to conceptually refer to the movement njegove umjetničke premise u jezik tipografije. it represents and transpose its art premises into the typeface language.

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Kryptogram

dizajn / design Alma Šavar studij / school Studij dizajna / School of Design, Zagreb mentor Nikola Đurek asistent / assistant Damir Bralić 2012./2013.

Kryptogram je pismo nastalo u sklopu zadat- Kryptogram is a typeface created as a part of ka revival (redizajna analogne tipografije po the revival task (redesign of analogous type- želji) na kolegiju Dizajn fonta i kaligrafije 1. face as per own choice) of the study module Kao predložak poslužile su naslovnice serije Font and Calligraphy Design 1. The covers of a monografija Rembrandta, Van Dycka, Ruben- series of monographs of Rembrandt, Van Dy- sa i Dürera s početka 20. stoljeća. Ovo pismo cke, Rubens and Dürer of the beginning of the display karaktera vrlo je eklektično. Za sva- 20th century served as a template. This type- ki slovni znak postoji nekoliko alternacija u face of display character is very eclectic. For različitim stilovima, od strogo ortogonalnog each character there are several alternations do zaobljenog i poligonalnog. Sadrži tri reza: in different weights, from strictly orthogo- hairline, regular i black. nal to rounded and polygonal. There are three weights: hairline, regular and black.

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Norma Sans

dizajn / design Mihovil Vargović studij / school Studij dizajna / School of Design, Zagreb mentor Nikola Đurek asistent / assistant Damir Bralić 2012./2013.

Norma Sans je pismo projektirano za primjenu Norma Sans is a typeface designed to be used na orijentacijskim tablama uz prometnice, na on orientation tables alongside roads, on guide putokazima i prometnim znakovima. Pismo posts and road signs. The type is characterized karakterizira niski kontrast, visoka x-visina, by low contrast, high x-height, low ascenders niski gornji i donji produžeci, otvorene for- and descenders, open forms, wide counters me, široki negativni prostori, te nekoliko ra- and several different optical corrections. The zličitih optičkih korekcija. Parametri visine height parameters have been designed accord- konstruirani su prema idealnom odnosu (kod ing to the ideal ratio (in Norma Sans it is 1.4) for Norme Sans to iznosi 1,4) za hrvatske dijakritike Croatian diacritics and generally for legibility i općenito za čitljivost takve vrste tipografija. of this kind of typeface. An additional set of Dodatni set brojki optički je korigiran s na- numbers has optically been corrected to create mjerom stvaranja ujednačene horizontalne an even horizontal line with letters. Narrow linije sa slovima. Narrow rez (20% uži) služi za (20% narrower) can be used to write long titles ispisivanje dugih naziva te kod situacija kada and in situations where the size of the table je veličina table ograničena. is limited.

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Terraneo Festival

dizajn / design Anja Bošnjak studij / school Agora, Zagreb mentor Mario Petrak 2012./2013.

Terraneo je ljetni festival s koncertima kao pri- Terraneo is a summer festival with concerts marnim točkama programa, no održavaju se i as its primary programme items, but which radionice i predavanja ekološke i umjetničke also includes workshops and lectures with en- tematike. Ciljana publika festivala prvenstve- vironmental and artistic subjects. The target no su mlađi ljudi kojima odgovara takav način audience of the festival are primarily younger ljetovanja (kampiranje, backpacking, partiji i sl.). people who enjoy this type of summer vacati- Dizajn nove web stranice festivala temelji se on (camping, backpacking, parties, etc.). The na nekim postojećim elementima njegovog design of the new festival website is based on vizualnog identiteta, poput trokuta, koji su some existing elements of its visual identity, sada postali i navigacijski alat na stranici, pa such as the triangle, which now have beco- više nemaju samo ilustrativnu ulogu. U pravil- me and navigation tool on the site and are noj mreži stranice, svaka informacija dobila je no longer merely illustrative. In the evenly ravnopravnu poziciju u prostoru, a kodirana distributed net of the website, each piece of je bojom i pismom. information received an equal position in space, and is codified by colour and font.

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Kugla / The Sphere

dizajn / design Slobodan Dragošević studij / school DVK UMAS, Split mentor Oleg Šuran 2013./2014.

Za potrebe izložbe Transfer 1995. – 2010. / Otvo- For the purposes of the exhibition Tran- reni arhiv vol.1 u HDD galeriji (prosinac 2013.) sfer 1995 – 2010 / Open archive vol.1 in the izrađena je ulazna naprava DIY metodom i gallery of the Croatian Designers Association sučelje za pregled video sadržaja. Kugla služi (December 2013) a DIY entrance device and za navigaciju sučeljem pri odabiru izdvojenih interface for the overview of the video con- video sadržaja (TV prilozi iz emisije). Upravlja- tents was created. The sphere is used for the nje – pomicanje kugle, direktno se preslikava navigation of the interface by selecting video na pomicanje izbornika sučelja. Kugla i suče- contents (segments from the TV show). The lje vizualno se temelje na scenografiji emisije control – movements of the sphere is directly Transfer. Sučelje je izrađeno u html, xml, te transferred to the scrolling of the interface actionscript3 tehnologiji. menu. The sphere and interface are visually based on the scenography of the Transfer TV show. The interface was created in html, xml, and actionscript3 technology.

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Promet Split / Split Traffic

dizajn / design Ivan Kunjašić studij / school DVK UMAS, Split mentor Ivica Mitrović asistenti / assistants Luka Vidoš, Oleg Šuran 2013./2014.

Mobilno web sjedište gradskog javnog prijevo- The mobile web centre of the City of Split pu- znika, Prometa Split, dizajnirano je s posebnim blic transport operator, Promet Split, was de- fokusom na upotrebljivost, tj. na brzinu i kva- signed with a special focus on usability, i.e. on litetu korisničkog iskustva. Sučelje je vizualno the speed and quality of the user experience. maksimalno pročišćeno, temeljeno na pikto- Visually, the interface is maximally clean, ba- gramima i suvremenom plošnom i jasnom sed on pictographs and a contemporary planar layoutu. U izradi su korištene nove prakse u and clear layout. In the creation, new practices dizajniranju web sjedišta za mobilne platfor- in the design of web centres for mobile plat- me, kao npr. korištenje SVG formata, poseb- forms were used, such as the SVG format, espe- no značajnog kod uređaja velikih rezolucija. cially significant with high resolution devices. www.umas.hr/~ikunjas/1314/html/index. www.umas.hr/~ikunjas/1314/html/index. html html

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Katalinko

dizajn / design Ivan Milas studij / school DVK UMAS, Split mentori / mentors Ivica Mitrović, Jelena Zanchi (UMAS), Kaja Radić (FESB) asistent / assistant Maja Braović (FESB) 2012./2013.

Interakcijskim projektom Katalinko planira se The interactive project Katalinko was envisa- oživjeti zapušteni javni prostor spomeničkog ged to revive the neglected public space of the sklopa Pomorac i reprezentativne vertikale monument complex Pomorac and the repre- spomen-svjetionika nastalog 1956. godine. U sentative vertical of the memorial lighthouse pročelje spomen-svjetionika integrira se svje- erected in 1956. Lights were integrated in the tlo. Iza svake staklene opeke postavlja se LED facade of the memorial lighthouse. Behind dioda povezana s platformom koja se nalazi u every glass brick, a LED diode was installed, podnožju spomenika. Platforma sadrži digi- connected with the platform that is located talni display kojim korisnik crta po pročelju in the base of the monument. The platform svjetionika. Pomoću mobilnog uređaja omogu- contains a digital display with which the ćava se slanje tekstualne poruke koja se nakon user draws on the facade of the lighthouse. provjere ispisuje na pročelju svjetionika. Cilj A mobile device enables the sending of a text je projekta koncipirati ‘događaj’ koji će privu- message, which, after it is checked, is written ći ljude i stvoriti okolnosti za komunikaciju on the facade of the lighthouse. The goal of među sudionicima. the project was to create an ‘event’ that will attract people and create circumstances for www.katalinko.eu communication among the participants. You can find out more at:

www.katalinko.eu

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God’s Away on Business

dizajn / design Jelena Perišić studij / school DVK UMAS, Split mentor Darko Kokić 2012./2013.

Video rad (računalna animacija) rezultat je za- The video artwork (computer animation) is a datka kreiranja animacije koristeći isključivo result of the task to design an animation using izražajna sredstva tipografije i boje, s ciljem only the expressive features of typography and vizualizacije glazbene podloge koja je prati ri- colour in order to visualise a musical backgrou- tmom, kretnjama i kompozicijom. Odabrana je nd, accompanying it with rhythm, movement pjesma Toma Waitsa God’s Away on Business, and composition. The song God’s Away on Bu- dok je trajanje animacije 32 s (format: 720 dpi, siness by Tom Waits was used and the animati- 1280×720 ppx). on is 32 s long (format: 720 dpi, 1280x720 ppx).

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Istarsko narodno kazalište / Istrian National Theatre

dizajn / design Martina Ukić studij / school DVK UMAS, Split mentor Ivica Mitrović asistenti / assistants Oleg Šuran, Luka Vidoš 2012./2013.

Redizajn web sjedišta Istarskog narodnog The redesign of the web centre of the Istrian kazališta temeljen je prije svega na vidljivosti National Theatre is primarily based on the vi- programa. Stoga je temeljni akcent naslovnice sibility of the programme. The basic accent of na rasporedu održavanja aktivnosti kazališta. the home page, therefore, was on the program- Dodatno je izvedeno kodiranje bojama, koje me of activities of the theatre. Colour coding označavaju (i kategoriziraju) vrste programa. was additionally used to mark (and categorize) Ovakav redizajn omogućava visoku upotreblji- the type of programme. Such a redesign ena- vost sjedišta i jasno komunicira temeljne ak- bles a high usability of the centre and clear- tivnosti kazališta. Dodatna pažnja posvećena ly communicates the basic activities of the je i kasnijoj lakoj izvedivosti u CMS okruženju. theatre. Additional attention was dedicated to the subsequent easy workability in a CMS environment.

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Neplus

dizajn / design Niko Crnčević studij / school Studij dizajna / School of Design, Zagreb mentor Mladen Orešić asistenti / assistants Ivana Fabrio, Sanja Bencetić 2012./2013.

Sustav namještaja Neplus nastao je iz preis- Neplus systems furniture is a result of a project, pitivanja vrijednosti materijalnoga u službi which explored material values in service of ekologije. Naziv Neplus inspiriran je latinskom ecology. The title Neplus was inspired by the frazom ‘ne plus ultra’ što znači ‘ništa više od Latin phrase ne plus ultra that roughly trans- potrebnoga’. Odabrani smjer ekologije ne te- lates to ‘nothing beyond it’. The selected envi- melji se na reciklaži i kupovini novih predmeta, ronmental direction is not based in recycling nego na produljenju životnog ciklusa jednog and purchasing new objects but in prolonga- proizvoda. Sustav čini nekonvencionalna kom- tion of a single product’s life cycle. The system binacija elemenata, inspirirana idejama aske- is made of an unconventional combination tizma, poput peg rail sustava shakers sekti iz 17. of elements, inspired with the idea of asceti- stoljeća, kombinirajući tradicionalne koncepte cism found in Shaker peg rail systems (Shakers minimalizma sa spoznajama o specifičnostima were a religious sect from the 17th century) suvremenog načina života. Sustav ne nudi poli- combining traditional minimalist concepts ce, već niz kutija koje ne dozvoljavaju izlaganje with specific needs of contemporary life style. dekorativnih predmeta, samo pohranjivanje The system is not composed of shelves but of bitnih. a series of boxes not allowing for any kind of exposing decorative objects but rather serving for their storage.

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Kozolec

dizajn / design Niko Crnčević, Lucija Nićeno, Ana Šolić studij / school Studij dizajna / School of Design, Zagreb mentori / mentors Zlatko Kapetanović, Ivana Fabrio, Mia Roth Čerina, Vanja Rister 2013./2014.

Temelj koncepta za revitalizaciju društvenog The basis of this concept for revitalizing social života Područne osnovne škole Tekić je sustav life at the Tekić Primary School was a line of namještaja Kozolec s jednostavnim uputama furniture with very simple instructions which za izradu, koja se organizira među starijim can be used by older students and their parents. učenicima i roditeljima. Elementi interijera Interior elements are inspired by traditional inspirirani su tradicionalnim sušilom za sijeno, hay driers, and have multiple use. Pillows are a mogu se koristiti na više načina. Jastuci koji stored in the elements and used for sound- se skladište u elementima služe kao zvučna proofing or seating at various school events. izolacija ili kao sjedala za školske priredbe. In- Interventions on the interior walls comprise tervencije na zidovima interijera su drvene wooden battens bearing exchangeable mod- letvice-nosači, koje drže izmjenjive module ules with additional plates that can serve as s dodatnim pločama, koje mogu služiti i kao scenery for plays staged by the drama club. scenografija za dramsku sekciju. Proces na- Teaching process thus motivates individual stave tako potiče individualni pristup prema approach to students at same time strength- učenicima, a ujedno jača osjećaj zajedništva ening solidarity and group involvement in kod grupnih projekata. school projects.

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Aree

dizajn / design Vedran Erceg studij / school Studij dizajna / School of Design, Zagreb mentor Mladen Orešić asistent / assistant Vedran Kasap 2012./2013.

Stol Aree nastao je u sklopu projekta Dizajn The Aree tabe was created as a part of the proj- u realnom okruženju, na diplomskom Studiju ect Design in Real Environment at the under- dizajna, u suradnji s Hrvatskom obrtničkom graduate studies at the School of Design in komorom. Cilj projekta bio je osmisliti proi- Zagreb and in collaboration with the Croatian zvod koji će biti prilagođen poslovnim i pro- Chamber of Trades and Crafts. The project izvodnim karakteristikama obrtnika ili pak aimed to create a product adapted to crafts- njegovim stremljenjima za budućnost. Projek- men’s business and production specificities or tantskim pristupom i kombiniranjem kontra- their future aspirations. Project-oriented ap- stnih materijala stvoren je vizualno upečatljiv proach and combination of contrast materials proizvod, koji svojom slojevitošću predstavlja resulted in the creation of a visually attractive sve obrtnikove vještine i kvalitete obrade drva, product with many layers representing crafts- sa ciljem diferencijacije obrtnikove ponude manship and quality wood-processing with na tržištu. Stol je u potpunosti izrađen ručno, the aim to differentiate crafted products from izbjegavajući CNC tehnologiju, čime se također other products on the market. The table is en- teži potencirati kvalitete proizvođača. tirely handmade with intentional avoidance of the CNC technology to underline specific production quality.

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4you

dizajn / design Ema Gerovac studij / school Studij dizajna / School of Design, Zagreb mentor Mladen Orešić asistent / assistant Neven Kovačić 2012./2013.

Dizajn kolekcije namještaja 4you temelji se na 4you line of furniture is made of metal ele- metalnim elementima koji se nalaze na sva ments in all four corners of the product. The četiri kuta proizvoda. Ideja je bila napraviti main idea was to create a product that can be proizvod koji se transportira plošno zbog ma- transported horizontally and thus take less njeg zauzimanja prostora, te ga onda korisnik space. The user can simply assembly or dis- sam jednostavno sastavlja i po potrebi rastavlja. mantle all the pieces as necessary. The product Produkt se sastoji od ploče, 4 noge i 4 metalna is made of a plate, four legs and four metal elementa. Metalni elementi imaju oblik tetra- elements in the form of tetrahedron compos- edra, pa tako čine čvrstu konstrukciju. Ovdje ing a very solid construction. Construction konstrukcijski element u potpunosti nosi vi- elements completely translate the product’s zualni jezik produkta te tako dobiva ne samo visual language allowing for its functional and funkcionalnu, već i estetsku ulogu. aesthetic role.

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Twool

dizajn / design Maja Jandrić studij / school Studij dizajna / School of Design, Zagreb mentor Mladen Orešić komentor / co-mentor Zlatko Kapetanović asistent / assistant Andrea Hercog 2013./2014.

Twool je multifunkcionalni set alata za vrtla- Twool is a multi-functional set of gardening renje. Riječ je o kompletu od dvije alatke koje tools. The set contains two tools with four obavljaju četiri funkcije. To su lopatica, klin, functions. The tools can be used either as a grabljice i vile. Ovaj set namijenjen je vrtlare- spade, bolt, rake or small pitchfork for gar- nju na balkonu i u manjim vrtovima. Alati su dening on balconies or smaller gardens. The mali, prilagođeni veličini biljaka, tj. teglica. Nji- tools are small and accommodated to different hova forma je konkavno konveksna što omogu- sizes of plants or pots. Their form is concave ćuje njihovo sklapanje i lakše spremanje. Cilj and convex allowing for bending and easier je bio alatu za vrtlarenje udahnuti osobnost. handling. The aim was to provide gardening Samo oblikovanje inspirirano je organskim tools with a touch of personality. Design itself oblicima biljaka, kako bi se alat što bolje uklo- is inspired by organic plant forms to make this pio u male vrtove, ne narušavajući ljepotu i tool fitted for smaller gardens without disturb- sklad prirode. ing natural harmony and beauty.

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Muzička kutija / Musical Box

dizajn / design Sara Pavleković Preis studij / school Studij dizajna / School of Design, Zagreb mentor Vedran Kasap 2012./2013.

Muzička kutija je rad nastao u okviru projek- Musical Box was designed as a part of the proj- tnog zadatka Drvena igračka s mehanizmom. ect titled Wooden Toy With Mechanism. The toy Igračka je zamišljena kao interaktivni muzički is designed as a musical instrument for early instrument pomoću kojeg djeca kroz igru ra- development of creative musical capabilities zvijaju svoje kreativne i muzičke sposobnosti. in children. Children have the opportunity Djeca su u mogućnosti preslagivati cijevi koje to rearrange tubes marked with different su obilježene određenim bojama, a povezane colours and connected with keynotes. As a su s tonovima na tonskoj skali. Tako djeca stva- result of this, children can create their own raju svoju melodiju, te upravljaju njenom du- melodies and make decisions on its length and žinom i brzinom okretanja mehanizma. Kroz the mechanism’s rotation speed. The tube is cijev se upuhuje zrak, dok desna ruka pokreće used to blow the air while the right hand starts mehanizam, i tako nastaje melodičan zvuk. the mechanism thus creating a melodic sound.

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POPUP

dizajn / design Ozana Ursić studij / school Studij dizajna / School of Design, Zagreb obrt / manufacturer Arbor vizualni identitet / visual identity NJI3 fotografije / photographs Tessa Bachrach Krištofić mentor Mladen Orešić asistent / assistant Vedran Kasap 2012./2013.

Rad je nastao kao semestralni zadatak na di- The work was created as an assignment at the plomskom Studiju dizajna, u suradnji s Hr- undergraduate studies at the School of Design vatskom obrtničkom komorom i stolarskim in Zagreb and in collaboration with the Croa- obrtom Arbor, vlasnika Tonka Štambuka. Kako tian Chamber of Trades and Crafts and Arbor, je cilj projekta stvaranje proizvoda koji će ispu- a small carpentry company owned by Tonko niti afinitete obrtnika uz potencijalni plasman Štambuk. This project aimed to make a prod- na tržište, odabrano je kreiranje brodske opre- uct, which would comply with craftsmen’s me, nazvane POPUP. Serija vješala nastala je preferences with potential placement on the kao rezultat istraživanja različitih mogućnosti market with designing of ship equipment oplemenjivanja ljudskih potreba za vrijeme as the selected category. A series of hangers boravka na plovilu. Proizvodi su jednostavni, were created as a result of exploring various sigurni te prilagođeni estetici plovila, a dizaj- possibilities to improve various human needs nirani su do razine prototipa. Autorima je cilj during the time spent on a ship. Products are predstaviti se tržištu i krenuti u proizvodnju. simple, safe and adapted to ship aesthetics. Rad je bio izabran u uži krug natječaja Zagre- The project developed several prototypes. The bačke banke ‘Moj motiv 2.0’. designers’ intention is to present their designs on the market and start with the production. The work has been selected in the last round of the Zagrebačka Bank competition named ‘Moj motiv 2.0’.

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Informativna posuda za biljke / Informative Plant Jar

dizajn / design Petra Vrdoljak studij / school Studij dizajna / School of Design, Zagreb mentor Mladen Orešić asistenti / assistants Ivana Fabrio, Sanja Bencetić 2013./2014.

Cilj projekta je približiti uzgoj jestivog i de- The project aimed to introduce everyone wish- korativnog bilja svima onima koji bi ih htjeli ing to grow edible and decorative plants in uzgajati u vlastitom životnom prostoru, ali ih u their living space to some basic information tome priječi manjak informacija o samoj biljci i about such plants and the care they require. načinu na koji se treba brinuti o njoj. Zbog toga For that purpose, the basic part of the proj- je osnova ovog proizvoda informativni sustav ect involves an information system allowing koji korisniku olakšava brigu o biljci. Posuda za users to take better care of the plant. A plant biljke sadržava osnovne informacije o sadnici, pot contains the most important information i to o zalijevanju, prskanju, osunčanosti, pre- about seedlings, watering, spraying, exposure sađivanju i cvjetanju. Informacije su kodirane to sun, replanting and blooming. All informa- kroz godišnji ciklus biljke, a očitavaju se za tion is coded according to the plant’s annual svaki mjesec s okvira posude. Tamo se nalazi cycle and can be read every month from the plutena ovojnica koja se tijekom godine rotira, pot’s rim with a rotating cork cover. kako bi se kroz okvir vidjele informacije za pojedini mjesec.

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Štand Studija dizajna – Smotra sveučilišta u Zagrebu 2012. / School of Design Booth – The University of Zagreb Fair 2012

dizajn / design Anta Bučević, Niko Crnčević, Lana Grahek, Stanislav Kostić, Alma Šavar, Petra Vrdoljak studij / school Studij dizajna / School of Design, Zagreb mentori / mentors Romana Kajp, Vedran Kasap, Tomislav Vlainić 2012./2013.

Optičkom iluzijom selektivnog filtriranja boja Through an optical illusion of the selective stvorena su dva štanda u istom prostoru, za filtering of colours, two booths were created dva smjera na Studiju dizajna. Crveni je pred- in the same space, for the two sub-program- stavljao industrijski dizajn, a plavi vizualne mes of the design study programme. The red komunikacije. Svaki posjetitelj, budući stu- represented the industrial design, and the dent, dobio je posebni monokl od pleksiglasa. blue the visual communications programme. Ovisno o interesu za određeni smjer bira se Each visitor, future student, received a special boja koju će monokl filtrirati, a time i koji će Plexiglas monocle. Depending on their inte- grafički elementi postati vidljivi i koji tekst rest in a particular programme, the colour that čitljiv. Grafike na zidovima prikazivale su iza- the monocle will filter is chosen, and with this brane projekte sa svakog smjera, program rada the graphic elements that will become visible kroz godine i informacije o upisima. Ostali and the text that will become readable. The materijali poput naljepnica i online vizuala graphics on the walls presented selected desi- funkcionirali su slično, nečitki bez posebnog gn projects from each sub-programme, the cu- monokla, promovirajući slogan ‘Nauči gledati rriculum for each year and information on the drugačije’. enrolment. Other materials such as stickers and the online visuals functioned similarly, unreadable without a special monocle, promoting the slogan ‘Learn to view differently’.

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Sustav signalizacije za trajekte / Ferry Signage System

dizajn / design Iris Klarić studij / school DVK UMAS, Split mentori / mentors Nikola Đurek, Damir Bralić 2012./2013.

Postojeća prostorna signalizacija na trajektima The existing spatial signage on Jadrolinija Jadrolinije potpuno se gubi među raznim ure- ferries gets completely lost among the va- đajima koji izlaze iz zidova trajektne arhitektu- rious devices that come out of or enter the re ili ulaze u njih. PVC naljepnice piktograma walls of the ferry architecture. The PVC sticker raznih veličina i boja aplicirane su na proizvolj- of pictographs of various sizes and colours nim visinama na uređajima ili oko njih, a osim are applied at arbitrary heights on devices or naljepnica na različitim mjestima i spasilačkim around them. In addition to the stickers, on predmetima nalaze se tekstualna objašnjenja various locations and rescue objects, textual ili upozorenja ispisana neadekvatnom stencil explanations or warnings are written out in tipografijom. U svrhu kreiranja sustava signali- the inadequate stencil typography. For the zacije koji će riješiti navedene probleme i ujed- purpose of designing a signalling systems that načiti situaciju, uveden je modularni sustav na will solve these issues and contribute to the kojem se temelji cijela signalizacija, standardi harmonisation of the situation, a modular za visinsko postavljanje iste, redizajn ISO su- system was introduced on which the entire stava piktograma, te nova tipografija. signalization is based, as well as standards for the height level of the placement of the stickers, a redesign of the ISO pictograph system, and a new typography.

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IIIII

dizajn / design Vanja Veselić suautor / co-author Berislav Kovačević studij / school TTF Zagreb mentor Nina Režek Wilson 2012./2013.

Dizajn modne kolekcije IIIII temelji se na serij- The design of the fashion collection IIIII is skom ponavljanju jednog osnovnog elementa based on the serial repetition of one basic ele- (linije ili plohe/sloja) kao principa kompozicije. ment (lines or plane/layer) as the principle of Minimalistička i monokromatska, kolekcija the composition. Minimalistic and monochro- inspiraciju pronalazi u skulpturama Donalda matic, the collection finds its inspiration in the Judda, starim kronofotografijama i audio-vizu- sculptures of Donald of Judd, old chronopho- alnim instalacijama Alva Nota, koji uzima jedan tographs and the audio-visual installations of ton ili šum te njegovim kopiranjem i varira- Alva Noto, who uses one tone or sound and njem stvara glazbu. Kao što Donald Judd u svo- creates music by copying and varying it. Just as jim skulpturama betonske i metalne elemente Donald Judd arranges the concrete and metal aranžira u matematičke sekvence čiji oblik i elements of his sculptures in mathematical volumen čine cjelinu, odnosno 3D objekt, u sequences, whose form and volume create the ovoj kolekciji oblici su također reducirani na whole, a 3D object, in this collection the forms nakupine i nizove te se postiže cjelina koja se are also reduced to clusters and series, creating neprestano mijenja u pokretu. a whole that constantly changes in movement.

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Zaboravljene / The Forgotten

dizajn / design Tessa Bachrach Krištofić studij / school Studij dizajna / School of Design, Zagreb mentor Ivan Doroghy asistent / assistant Tomislav Vlainić 2012./2013.

Kampanja Zaboravljene zamišljena je kao niz The ‘The Forgotten Ones’ campaign was imagi- akcija u javnom prostoru s ciljem upoznavanja ned as a series of actions in public space aimed pripadnika uže društvene zajednice s važnim, at familiarising members of a narrow commu- ali nepoznatim osobama. U kampanji se obra- nity with significant but unknown persons. đuje tema nedovoljno poznatih ženskih lič- The campaign deals with the subject of the in- nosti iz hrvatske povijesti. Namjera je akcijama sufficiently known female personalities from u različitim medijima reafirmirati vrijednosti Croatian history. Intention is to use actions in koje te žene predstavljaju u lokalnom kultur- different media to reaffirm the values that -the nom i političkom kontekstu. Tako se pokušava se women represent in the local cultural and razviti kritičko mišljenje kod publike, te svijest political context. The goal is to develop critical o važnosti žena u raznim povijesnim razdoblji- thinking in the audience, and the awareness of ma, i to stjecanjem uvida u njihovo djelovanje, the importance of women in different histori- čime se doprinosi raznolikosti ženskog naslje- cal periods by gaining insight into their work, đa i rodnoj ravnopravnosti. which will contribute to the diversity of the women’s heritage and gender equality.

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Homeless in Heaven

dizajn / design Matija Čop studij / school TTF Zagreb mentor Jasminka Končić asistent / assistant Josipa Štefanec 2012./2013.

Homeless in Heaven je modna kolekcija prezen- Homeless in Heaven is a fashion collection tirana istoimenim modnim magazinom čiji presented in an eponymous fashion maga- su glavni protagonisti beskućnici s područja zine, whose main protagonists are homeless Zagreba. Magazin na ironičan način propi- persons from the Zagreb area. The magazine tuje suvremeni sustav mode iz perspektive questions in an ironic way the contemporary marginalizirane društvene skupine. Budući system of fashion from the perspective of da beskućnik praktički nema pokretnu ili ne- marginalized social groups. Since homeless pokretnu imovinu, već je ona reducirana na persons practically do not have any property odjeću, njegov odnos prema imovini odnos other than clothes, their relation to property je prema odjeći, te je zbog toga doveden u od- is their relation to clothes, which is why it has nos s modom. Beskućnik je model (medij) koji been brought into relation with fashion. The izravno prenosi informacije o samom fenome- homeless person is a model (medium) who nu odijevanja i zbog toga ima puno pravo biti directly transfers the information on the phe- modnim autoritetom. nomenon of clothing and therefore has the full right to be a fashion authority.

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Pozdrav iz Zagreba / Greeting from Zagreb

dizajn / design Petra Jelaska studij / school Studij dizajna / School of Design, Zagreb mentor Mladen Orešić asistent / assistant Ivana Fabrio 2013./2014.

Pozdrav iz Zagreba je projekt revitalizacije kul- Greeting from Zagreb is a project of the revita- turne baštine i njezinih rituala u svrhu krei- lisation of cultural heritage and its rituals for ranja identiteta grada te stvaranja podloge za the purpose of creating an identity of the city njegov gospodarski razvoj. Istražuju se rituali and a foundation for its economic develop- koji definiraju zajednicu, kao i odrednice koje ment. Rituals that define a community, as well čine njezin identitet i stvaraju osjećaje privrže- as the factors that form its identity and create nosti i pripadnosti među njenim stanovnicima. a sense of devotion and belonging among its Osobni identiteti građana neodvojivi su od inhabitants are investigated. The personal identiteta grada. Dok je građanska komponen- identities of citizens are inseparable from the ta samo dio našeg osobnog identiteta, ona je identity of the city. Whereas the civil compo- esencijalni aspekt identiteta grada, koji se vid- nent is only part of our personal identity, it is ljivo interpretira ritualima. Rituali se tijekom an essential aspect of the identity of the city, vremena mijenjaju i prilagođavaju, prenose which is visibly interpreted through rituals. vrijednosti zbog kojih su nastali i mijenjaju ih. Through time, rituals are changed and adjusted, and values because of which they were created and that change them, are transferred.

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PLOBL

dizajn / design Marina Jukić studij / school Studij dizajna / School of Design, Zagreb mentori / mentors Feđa Vukić, Stipe Brčić asistent / assistant Luka Borčić 2012./2013.

PLOBL predstavlja platformu za nastavnu PLOBL represents a specific teaching metho- metodologiju s naglaskom na timskom radu, dology with an emphasis on teamwork, which nastalu spajanjem projektne nastave i dizajn was created by connecting project teaching procesa. U proširenoj formi društvene igre, and process design. In the extended form PLOBL omogućava učenicima ležernu per- of a social game, PLOBL enables students a cepciju nastave i smanjuje im pasivnost. Ra- relaxed perception of classes and reduces dom na projektima učenici povezuju znanja their passivity. By working on projects, the i informacije iz različitih školskih predmeta. students connect knowledge and informati- Prostor i vrijeme su fleksibilni, što učenicima on from different school subjects. Space and omogućava veću slobodu u radu. Potiče se i time are flexible, which allows students gre- njihova komunikacija i interakcija, kako unutar ater freedom in work. Their communication skupine, tako i među skupinama, jer se učenici and interaction are encouraged, both within bave temama vezanima za društvo i okruže- the group and among the groups, because stu- nje u kojem žive. Uče spoznati probleme, te dents deal with subjects related to the society sintezom bitnih informacija doći do različitih and environment they live in. They learn to rješenja u zadanim okvirima. recognize problems, and to synthesise crucial information to come to different solutions in the specified framework.

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Plastika / Plastic

dizajn / design Iris Klarić studij / school Studij dizajna / School of Design, Zagreb mentor Ivan Doroghy asistent / assistant Tomislav Vlainić 2013./2014.

Kakva je interakcija između plastične amba- What is the interaction between plastic pac- laže i njenog sadržaja? Koje vrste plastičnih kaging and its contents? What types of plastic materijala dolaze u neposredan dodir s hra- materials come into immediate contact with nom, te kako su njihove oznake dizajnirane? food, and how are their labels designed? These To su samo neka od pitanja koja problematizira are only some of the issues that this project ovaj projekt. Cilj je kritičkom obradom znan- deals with. The goal is to use a critical analysis stvenih informacija potaknuti komunikaciju of scientific information to stimulate commu- između znanstvenika, javnosti i medija. Oče- nication between scientists, the public and the kivani rezultat projekta je poticanje interesa media. The expected result of the project is to za javnu raspravu o ovoj temi i apeliranje na stimulate interest in public discussion on this potrošače da izbjegavaju kupnju namirnica u subject and to appeal to consumers to avoid neprimjerenim plastičnim vrstama ambalaže, purchasing food in unsuitable plastic packa- koje dolaze u neposredan dodir s hranom. ging that come into direct contact with food.

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(De)materijalizirana uspomena: Mlinci / (De)materialized Memory: Mlinci

dizajn / design Vlatka Leskovar studij / school Studij dizajna / School of Design, Zagreb mentor Mladen Orešić asistent / assistant Ivana Fabrio 2012./2013.

Iskustva koja se ostvaruju u domeni turizma Experiences realized in the domain of touri- nadilaze potrebu za materijalnim vrijednosti- sm exceed the need for material values. The ma. Projekt propituje odnos između doživljaja project questions the relation between the i materije, sa ciljem shvaćanja načina na koji experience and the material, with a goal of osobe koriste simboličke predmete nakon understanding the ways in which people use izvornog turističkog iskustva. Scenarij na- symbolic objects after the original tourist glašava odnos između čovjeka i uspomene, a experience. The scenario emphasizes the re- usmjeren je na djelovanje dizajnom u dva kon- lation between the person and the memory, teksta – stvaranja i prenošenja uspomene; što and is aimed at using design in two contexts je postignuto dizajniranjem valjka za spravlja- – the creation and transfer of memory; what nje mlinaca po zadanom receptu. Valjak ostva- was achieved by designing a rolling pin for the ruje svoj puni smisao tek kada se osoba koja preparation of mlinci according to a specific ga poklanja uključuje u prenošenje osobnih recipe. The rolling pin achieves its full sense iskustava i naučenih vještina kao cjelovitog only when the person giving it as a present is turističkog doživljaja. included in the transfer of the personal experiences and learned skills as a comprehensive tourist experience.

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Paralelna izložba / Parallel Exhibition

dizajn / design Petra Milički studij / school Piet Zwart Institute, Rotterdam mentor Florian Cramer 2012./2013.

Paralelna izložba je izložba nastala kao reakcija Parallel Exhibition is an exhibition created na službenu završnu izložbu dva smjera Piet as a reaction to the official final exhibition of Zwart Instituta u Rotterdamu 2012. Paralelna two programmes at the Piet Zwart Institute izložba prikazuje selekciju fotokopija papira in Rotterdam in 2012. The Parallel Exhibition bačenih u kantu za reciklažu koja se, uz foto- shows a selection of photocopies of papers kopirni aparat, nalazi na hodniku Piet Zwart discarded in a recycling bin located next to the Instituta. Eksponati su sakupljani u tajnosti tri photocopy machine in the Piet Zwart Institute. mjeseca prije službene izložbe, a Paralelna izlož- The exhibits were collected in secrecy over ba otvorena je nekoliko dana prije službene. three months before the official exhibition, Za razliku od radova na službenoj izložbi, Pa- and the Parallel Exhibition was opened a few ralelna izložba je prezentirala proces nastanka days before the official one. As opposed to the istih tih radova kroz skice, greške i odbačene works exhibited at the official exhibition, the printove i ideje. Katalog izložbe je produciran Parallel Exhibition showed the process of the on demand, na licu mjesta, također tehnikom creation of the same works through sketches, fotokopiranja. errors and discarded prints and ideas. The catalogue of the exhibition is produced on demand, at the very exhibition, also with the photocopying technique.

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Platforma za čitanje / Reading Platform

dizajn / design Karla Paliska studij / school Studij dizajna / School of Design, Zagreb mentori / mentors Feđa Vukić, Stipe Brčić asistent / assistant Luka Borčić 2012./2013.

Rješnje

Web platforma za Ëitanje digitalnih tekstova Read-ing platform

Read- ingplatform

About

Ad mil eos dunt aut am qui doluptam erum cum ipsamusci- met recae. Ut utaepe pa con natur aliquod minullaboris con num quunti totassi mperferio invel modi nonet lab inctate expe magnimu samendam qui dolupta turitib usciusdae saerum, quunt ipsae pos estrum quodipsusam es endamust rehenditas dollabIs soloratiae proreperitat fugitatis sincimi, ullam, occuptia eictati usaperepudis reremod quunt, as de ea nisti nobit et molor as cori distrumquis quam ut quaturitat reption sequatatusci te volentio consent es as voloribusam faccum voluptata volupta verumque voluptatur.

Choose your reading set Read up mode za Ëitanje je sistem Ëitanja koji je adekvatan in up sa ekstezivno Ëitanje, odnosno sadrži cijeli niz alata diza- read read up jniranih tako da podržavaju i olakšavau proces uËenja. Unutar ovog mode-a tekstovi se mogu editirati, povezivati read i Ëitati simulatno slažuÊi se u kompozicije što omoguÊava usporedbu tekstova i informacija.

Projekt istražuje na koje načine digitalna tran- The project explores the ways in which the zicija čitanja utječe na percepciju knjige, pre- digital transition of reading impacts the per- zentaciju teksta i procese čitanja. Započinje ception of the book, the presentation of the proučavanjem transformacije metoda konzer- text and the reading processes. It begins with viranja pisane riječi kroz povijest, načina na the In-readstudy of je the mode transformation koji omoguÊ avaof the i poti metËe- linerano, kon- koje jezik sudjeluje u društvenoj proizvodnji, hodstinuirano of conserving Ëitanje. the written word through te procesa čitanja u kontekstuin sociologije, ne- history,Korisnik the waysunutar in in-read which mode-alanguage ima partici na raspolaganju- mini- uroznanosti i psiholingvistike. Kao rezultat patesmalan, in social neopohdan production, broj alataand the za korištenjereading i konuzmaciju nastao je koncept Reading platform, web-stra- processteksta in kojithe sucontext dizajnirani of sociology, tako da korisnik neuros- neometano nica koja omogućava pohranjivanje,read dijeljenje, cience and psycholinguistics. As a result, the korištenje i umrežavanje tekstualnih sadržaja. Readingfokusirano platform Ëita was tekst. created, which enables the storing, sharing, use and networking of textual content.

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Vukovar – (ne)vidljivi grad / Vukovar – (In)visible City

dizajn / design Martin Peranović studij / school DVK UMAS, Split mentor Damir Bralić vukovar — (ne)vidljivi grad vukovarvukovarvukovar — (ne)vidljivi — — (ne)vidljivi(ne)vidljivi grad gradgrad 2012./2013. vukovarvukovarvukovar — — — (ne)vidljivi (ne)vidljivi(ne)vidljivi grad gradgrad vukovar — (ne)vidljivi grad

Temelj projekta istraživanje je odnosa feno- The basis of the project is researching the mena ‘kolektivne krivnje’ i etničkih identite- relation of the phenomenon of ‘collective ta (odnosno opravdavanja postupaka etničke guilt’ and ethnic identities (that is, justifying manjine ili većine kojoj pojedinac pripada) na the acts of an ethnic minority or majority to uzorcima Hrvata i Srba u Vukovaru kao gradu which an individual belongs) on samples of kojeg mediji većinom prikazuju podijeljenim. Croats and Serbs in Vukovar, as the city most Ideja je protestirati protiv takvog stanja me- represented as divided by the media. The idea todama dizajna i putem društvenih mreža i is to protest against such a state with methods službene web-stranice projekta stvoriti onli- of design and to use social networks and the ne zajednicu koja će Vukovar predstavljati u official web page of the project to create an drugačijem svjetlu – suvremenom i realnijem, online community that will represent Vukovar uz promicanje međuetničke solidarnosti i to- in a different light – as a contemporary more lerancije. real city, with the promotion of inter-ethnic solidarity and tolerance.

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U tramvaju / In the Tram

dizajn / design Luka Reicher studij / school Studij dizajna / School of Design, Zagreb mentor Stipe Brčić asistent / assistant Luka Borčić 2012./2013.

Većina građana Zagreba dio je dana ‘zarobljena’ Most of the citizens of Zagreb send a part of u sredstvima javnog prijevoza, te su prepušte- their day ‘trapped’ in means of public transport, ni sami sebi, vlastitim mislima i problemima... left to their own devices, their own thoughts Nisu direktno zabavljeni ili angažirani, već su and problems... They are not directly enterta- prisiljeni sami sebe zabaviti. Smisao ove inter- ined or engaged, and are forced to entertain vencije u unutrašnjosti tramvaja je zaokupiti themselves. The point of this intervention in misli slučajnog putnika pomoću seta zadataka i the interior of the tram is to occupy the minds igara, te ga okupirati jednostavnim mentalnim of the travellers and commuters with a set of igrama. Igre zahtijevaju promatranje okoline, tasks and simple games. The games require pa je prozor odabran za apliciranje prozirnih observing the surroundings, which is why the naljepnica s uputama u formi teksta i ilustra- windows have been selected for the applica- cije. Naljepnice su smještene oko čovjekovog tion of transparent stickers with instructions sjedećeg horizonta i tako lakše uočljive od- in the form of texts and illustrations. The stic- mah prilikom sjedanja, no zbog prozirnosti i kers are located around the sitting horizon and linijskih ilustracija nisu agresivne u prostoru. are thus easily noticeable immediately when the travellers take their seats, but due to their transparency and linear illustrations they are not aggressive in the space.

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Potrošač / The Consumer

dizajn / design Mihovil Vargović studij / school Studij dizajna / School of Design, Zagreb mentor Stipe Brčić asistent / assistant Luka Borčić 2013./2014.

Projekt obuhvaća izgradnju i oblikovanje su- The project comprises the creation and de- stava za savjetovanje građana u formi web plat- sign of a system for the counselling of citi- forme, s ciljem ujedinjenja tri glavne etape u zens in the form of a web platform, with the radu savjetovališta: informiranja, edukacije i goal of unifying the three main components savjetovanja. Zadatak je unapređenje načina of the work of the counselling centre: infor- savjetovanja prebacivanjem metoda u formu ming, education and counselling. The task digitalnog alata. Platformom je moguće distri- is to further the methods of counselling by buirati alate, pri čemu su postupci za podnoše- transferring them into the form of a digital nje prigovora pojednostavljeni, što korisniku tool. The platform will allow distributing the omogućava samostalno izvršavanje postupka. tools, whereat the procedures for submitting Cilj projekta je nadograditi cijeli proces i po- a complaint have been simplified. The goal of jednostaviti postupke reklamacije, te educirati the project is to upgrade the entire process građane o njihovih zakonskim pravima. and to simplify warranty claim procedures, as well as to educate citizens on their rights.

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Projekti i događanja / Projects and events

Contemporary Croatian Design – In A Nutshell

Everyday Discoveries, Suvilahti, Helsinki, 06. 09 – 16. 09. 2012. Cultural Embassies – Maribor European Capital of Culture, 6.11.2012. Sofia Design Week, 25. – 30. 6. 2013. Skopje Design Week, 1. – 6. 10. 2013. Tirana Design Week, 7. – 14. 10. 2013.

organizatori / organisers Ministarstvo kulture RH, Hrvatsko dizajnersko društvo / Ministry of Culture of the Republic of Croatia, Croatian Designers Association kustosica / curator Koraljka Vlajo selektor za modni dizajn / comissioner for fashion design Tonči Vladislavić vizualni identitet i postav / visual identity and exhibition design Ivana Borovnjak, Roberta Bratović, Andro Giunio, Tina Ivezić, Maša Poljanec

Projekt In a Nutshell zajednički su pokrenuli HDD i Mini- starstvo kulture RH 2009. godine, s ciljem predstavljanja domaćeg suvremenog dizajna internacionalnoj publici. Izložba je koncipirana s idejom da pruži relativno širok, kritički relevantan pregled najzanimljivijih po- java na hrvatskoj dizajnerskoj sceni, ali i tako da svojim fleksibilnim i praktičnim formatom bude prilagođena uvjetima putovanja i postavljanja u različitim izlagačkim prostorima u Europi i svijetu. Contemporary Croatian Design – In a Nutshell je cjelovit izložbeni proizvod koji u sebi objedinjuje konciznost i široku vizuru na domaću suvremenu dizajnersku produkciju.

The In a Nutshell project was jointly initiated by HDD – The Croatian Designers Association and the Ministry of Culture of the RoC in 2009 in order to present domestic contemporary design to an international audience. The exhibition was conceived with the idea to provide a relatively wide and critically relevant overview of the most interesting events on the Croatian design scene, but also to be of a flexible and practical format so as to be suited to travels and setups in different exhibition areas in Europe and around the world. Contemporary Croatian Design – In a Nutshell is a comprehensive exhibition product that combines conciseness and a wide view of the domestic contemporary design production.

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Design Tourism: Croatian Holiday Croatian Everyday

Skopje Design Week, 04. 09. – 10. 09. 2012. Croatie la voici – Festival hrvatske kulture Vienna Design Week, 27. 9. – 8. 10. 2012 u Francuskoj, Pariz / Festival of Croatian Culture, Croatie la voici – Festival hrvatske kulture u Paris, France, 10.09. – 16. 09. 2012. Francuskoj, Pariz / Festival of Croatian Culture, Paris, France, 10.09. – 16. 09. 2012., 10.09. – 16. 09. 2012. kustosice / curators Ivana Borovnjak, Roberta Bratović kustosice / curators dizajneri izlagači / exhibiting designers Ivana Borovnjak, Roberta Bratović Lina Kovačević, Studio Grupa (Filip Despot, Tihana dizajneri izlagači / exhibiting designers Taraba, Ivana Pavić), Numen / ForUse (Nikola Jelena Azinović, Nina Bačun, Sabina Barbiš, Dora Bilić, Radeljković, Sven Jonke, Christoph Katzler), Ivana Barbara Blasin, Mia Bogovac, Roberta Bratović, Matea Borovnjak, Roberta Bratović, Little Horse and Baby Bronić, Mario Depicolzuane, Dora Đurkesac, Andro Beuys (Maja Mujičić, Mejra Mujičić), Manufakturist Giunio, Nikolina Jelić, Neven Kovačić, Ana Kunej, Maja (Maša Milovac, Mia Bogovac, Dora Đurkesac), Mesić, Maša Milovac, Tina Müller, Numen / For Use, Ljiljana Kolundžić Branimir Paškvan, Ira Payer, Maša Poljanec, Zlatka Salopek, Noel Šuran, Kristina Volf, Jaša Zelmanović.

Croatian Everyday je selekcija suvremenih dizajnerskih objekata koje karakterizira jednostavnost, iskrenost Kustoska koncepcija Croatian Holiday 2012 pokušaj je da prema materijalu, eksperimentalnost, perceptivnost se uspostavi direktna komunikacija između dvaju sekto- u rješavanju prostornih i lokalnih problema. Izložbu ra – turizma i dizajna. Dvadeset mladih hrvatskih dizajne- čini presjek paradigmatskih radova koji se bave različi- ra na kritičan je način pristupilo kreativnom istraživanju tim sferama dizajna i koriste različite metodologije u o sociologiji turizma. Rezultat je imaginaran brand od pronalaženju rješenja. desetak proizvoda koji predviđaju i komentiraju buduć- nost hrvatskog turizma, istovremeno se oslanjajući na Croatian Everyday is a selection of contemporary de- povijesno nasljeđe i turističko iskustvo zemlje. signer objects that are characterized by simplicity, a sincerity towards the material, experimentality, per- The curatorial concept Croatian Holiday 2012 is an at- ceptiveness in tackling spatial and local issues. The tempt to establish a direct communication between exhibition comprises a cross-section of paradigmatic two sectors in Croatia – tourism and design. Twenty works dealing with different spheres of design and use young Croatian designers have approached in a critical different methodologies in finding a solution. way the creative exploration of the sociology of tourism. The result is an imaginary brand of ten products that predict and comment on the future of Croatian tourism, at the same time relying on the historical heritage and tourism experience of the country.

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ExtraOrdinary Design: Otvoreno Kamensko Extra/ordinary Design Workshops

Artomat, 16. – 19. 12. 2012. British Council Gallery, London, 10. – 27.01.2013.

organizatori / organisers organizatori / organisers Hrvatsko dizajnersko društvo, Udruga Kamensko / British Council, Ministarstvo kulture Republike Croatian Designers Association, Hrvatske, Helen Hamlyn Centar za dizajn, Royal Kamensko Association College of Art, Hrvatsko dizajnersko društvo, pokrovitelj / support Veleposlanstvo Republike Hrvatske u Ujedinjenom Ured za ravnopravnost spolova Kraljevstvu / British Council, Ministry of Culture of / Office for Gender Equality the Republic of Croatia, Helen Hamlyn Center for voditeljica radionice / workshop leader Design, Royal College of Art, Croatian Designers Mirna Reinprecht Association, Embassy of the Republic of sudionici / participants Nina Bačun, Croatia in the UK Sanja Bencetić, Ivana Čuljak, Lidija Lovrić, Barbara kustosi / curators Majnarić, Mirna Reinprecht, Dino Smrekar, Marija Julia Cassim, Mirna Reinprecht, Sanja Bencetić Tizaj, članice udruge Kamensko / members of the dizajn / design Kamensko Association Gero Grundmann, Studio Bec

Radionice su bile izravan nastavak projekta ExtraOr- Izložbeno predstavljanje rezultata radionica Extra/ dinary Design, temeljenog na razvoju metodologija in- ordinary Design u Londonu. Oslanjajući se na britan- kluzivnog dizajna, a započetog 2011. u Zagrebu. Udruga sku ekspertizu u dizajnu, projekt je razvio inkluzivni Kamensko osnovana je od strane otpuštenih tekstilnih proces koji uključuje rad s organizacijama i udrugama radnica propale tvrtke Kamensko sa svrhom zajedničkog koje zapošljavaju ili obrazuju društveno marginalizirane djelovanja i međusobne podrške u egzistencijalnoj i emo- grupe. Sve radionice imale su isti cilj: kroz mainstream tivnoj krizi u kojoj su se našle. Cilj suradnje s dizajnerima dizajn i suradnju strateški promijeniti situaciju u kojoj bio je osmišljavanje novih linija dizajnerskih proizvoda se ove organizacije nalaze i osnažiti njihove kreativne i vlastite modne marke s krajnjim ciljem pokretanja kapacitete u izazovnim ekonomskim vremenima. vlastitog socijalnog poduzeća. The exhibition was organized to present the results Workshops were an immediate follow-up to the project of the Extra/ordinary Design workshops in London. titled ExtraOrdinary Design focused on the develop- Supported by the British design expertise the project ment of inclusive design methods and initiated in 2011 titled extra/ ordinary design developed an inclusive in Zagreb. The Kamensko Association was founded by process involving collaboration with organizations and textile workers laid off from the bankrupted Kamensko associations employing or educating socially marginal- textile company with the aim to act together and pro- ized groups. All workshops had the same goal: to use vide mutual support in an existential and emotional mainstream design and collaboration to strategically crisis, which became their reality. The Association col- change the situation with which the associations and laborated with designers to come up with new series of organization had been faced with and develop their design products and their own fashion brand with the creative capacities in challenging economic conditions. final goal to start up a social enterprise.

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Dan D 2013: Dizajn i grad / D-Day 2013: Design and the City

Bivša Tvornica željezničkih vagona Gredelj, Zagreb / Former Rolling stock factory Gredelj, Zagreb 10. – 16. 6. 2013.

organizatori / organisers HDD – Hrvatsko dizajnersko društvo, Pepermint / Croatian Designers Association, Pepermint programski direktori / program directors Ivana Borovnjak (glavna programska direktorica / chief program director), Marko Golub, Igor Kuduz, Nikola Radeljković direktor produkcije / production director Boris Kovaček (Pepermint) koordinatorica programa / program coordinator Mirjana Jakušić, Bojan Krištofić marketing Vera Bolanča (Pepermint) suradnica na produkciji / production associate Monika Galić grafički dizajn / graphic design Dora Bilandžić, Lana Grahek, Barbara Majnarić, Karla Paliska produkt dizajn / product design Tvrtko Bojić, Ana Rimac mentori / mentors Igor Kuduz, Nikola Radeljković, Hrvoje Živčić pr Ivan Dorotić

Festival Dan D 2013 pokušao je razmotriti na koji način D-day Festival 2013 attempted to examine the ways in dizajn djeluje prema ideji javnog i urbanog, kakve društ- which design functions according to the idea of public vene i individualne interakcije stvara, koliko doprinosi and urban, what social and individual interactions it kvaliteti života zajednice, odnosno – kako dizajn ma- creates, how it contributes to the standard of living of pira grad. Središnja događanja festivala održana su u the community, or – how design maps the city? The napuštenom industrijskom kompleksu tvornice Gredelj, central events of the festival were held in the abandoned uz poseban program realiziran na drugim lokacijama u industrial complex of the Gredelj factory, with a special centru grada kroz koji su se mapirali različiti gradski programme organized on other locations in the city dizajnerski resursi, studiji i shopovi. Festival se dije- centre, through which various city designer resourc- lom bavio i potencijalnom budućnosti Zone Gredelj kao es, studios and shops were mapped. The festival partly kreativnog klastera, s posebnim tematskim blokovima dealt with the potential future of the Gredelj zone as o temama dizajna i poduzetništva, dizajna i edukacije, a creative cluster, with special thematic blocks on the kreativnih industrija te dizajna i umjetnosti u kontekstu subjects of design and entrepreneurship, design and grada. Među brojnim predavačima bili su Mark de Kruijk education, the creative industries and design and arts in (Nizozemska) i Tom Fleming (Velika Britanija), koji su the context of the city. The numerous lecturers included govorili o konceptima kreativnog grada i kreativnih klas- Mark deKruijk (Netherlands) and Tom Fleming (Great tera, te Jan Boelen i Giovanni Innela. Predstavljen je i niz Britain), who spoke about the concepts of a creative gostujućih izložbi iz regije i svijeta, uključujući i izložbe city and creative clusters, Jan Boelen and Giovanni In- fakulteta, dizajnerskih organizacija i inicijativa. Sekcija nela. A series of guest exhibitions from the region and D-dizajneri, uvedena na prethodnom izdanju festivala, the world was presented, including exhibitions of the ovog je puta uključivala Marka Hrastovca, Darija Devića University, designer organisations and initiatives. This i Ivu Mariju Jurić, Andru Giunija, Damira Žižića, Ivana year, the D-designers section, introduced at the previ- Klisurića i Zastranienie. Pobjednici središnje natječajne ous edition of the festival, included Marko Hrastovac, D-izložbe bili su Flaster / Vedran Židanik & Elvis Meh- Darijo Dević and Iva Marija Jurić, Andro Giunij, Damir medović (1. nagrada), Irena Frantal & Martina Kontošić (2. Žižić, Ivan Klisurić and Zastranienie. The winners of the nagrada), Marina Mijatović (3. nagrada), Vedran Klemens, central competition D-exhibition were Flaster/Vedran Lana Grahek, Radi/on/a? / Hana Ciliga + Iva Ćurković, Židanik & Elvis Mehmedović (1st prize), Irena Frantal Petra Blažinčić & Marita Bonačić & Morana Starčević, & Martina Kontošić (2nd prize), Marina Mijatović (3rd TMNT / Aleksandar Nušić, Marko Gamser, Miloš Opačić, prize), Vedran Klemens, Lana Grahek, Radi/on/a? /Hana Nemanja Obradović (posebna priznanja). Ciliga + Iva Ćurković, Petar Blažinčić & Marita Bonačić & Morana Starčević, TMNT / Aleksandar Nušić, Marko Više: www.2013.dan-d.info Gamser, Miloš Opačić, Nemanja Obradović (special ac- knowledgments).

Find out more at: www.2013.dan-d.info

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Design Tourism: Hungry Designers (re)dizajn.hr

Hrvatski muzej turizma DVK UMAS, Split, 21. 4. – 25. 4. 2014. / The Croatian Museum of Tourism, Opatija, 6. – 25. 9. 2013. voditelji radionica / workshop leaders Vienna Design Week, Tin Kadoić, Ivica Mitrović, Marko Dugonjić 18. – 20.10.2013. asistenti voditelja / workshop assistants Oleg Šuran, Luka Vidoš kustosice / curators konzultanti / consultants Ivana Borovnjak, Roberta Bratović Ivana Borovnjak, Marko Golub dizajneri izlagači / exhibiting designers sudionici / participants Oaza, Filip Havranek & Kristina Lugonja, Ivan Dorotić Marko Hrastovec, Dominik Markušić, & Luka Borčić, Nikola Radeljković & Igor Zanzerović, Franka Tretinjak (Studij dizajna / School of Design), Vlatka Leskovar, Branimir Paškvan, Manufakturist, Slobodan Dragošević, Ivan Kunjašić, Mate Žaja Sonda, Nina Bačun & Roberta Bratović, (DVK UMAS) Noel Šuran & Davorka Tumpić, Đurđa Prettyface & Vedran Klemens, Superstudio 29, Mirna Raduka & Karmen Kolombo Studentska radionica redizajna portala dizajn.hr održana je na Odsjeku za dizajn vizualnih komunikacija Umjet- Hungry Designers je izložba dizajnerskih projekata na ničke akademije u Splitu pod vodstvom predavača sa temu gastronomije u turizmu na kojoj svoje radove pred- zagrebačkog Studija dizajna i Umjetničke akademije stavlja dvadesetak hrvatskih dizajnera i dizajnerskih Sveučilišta u Splitu te Marka Dugonjića. Polaznici radi- timova. Izložba je nastala kao novi projekt platforme za onice bili su studenti oba fakulteta, a rješenja razvijana afirmaciju i promicanje dizajna u turizmu – Design Tour- tijekom radionice i nakon nje činit će osnovu redizajnira- ism, pokrenute pri Hrvatskom dizajnerskom društvu. nog web sjedišta HDD-a i portala o dizajnu. Unutar niše dizajna u turizmu, izložba Hungry Designers podcrtava njegov gastronomski potencijal. Projekti pred- A student workshop for redesigning the dizajn.hr web stavljeni na izložbi propituju stereotipe vezane za hranu, portal was held at the Department of Visual Commu- reinterpretiraju tradicijske načine pripreme hrane te nications Design at the Art Academy in Split with the nove oblike konzumiranja hrane i promišljanja gastron- teachers from the School of Design in Zagreb and the omske ponude, kroz dizajn proizvoda, scenarija i usluga. Art Academy of the University of Split and Marko Du- gonjić. Participants at the workshop came from both Hungry Designers is an exhibition of designer proj- educational institutions and the result of their work ects on the subject of gastronomy in tourism, at which will make the basis for redesigning the new CDS web about twenty Croatian designers and design teams will portal dedicated to design. present their works. The exhibition was developed as a new platform for the affirmation and promotion of design in tourism – Design Tourism, initiated by the Croatian Designers Society. Within the design niche in tourism, the Hungry Designers exhibition underlines its gastronomic potential. The projects presented at the exhibition question stereotypes related to food, reinterpret traditional methods of food preparation and new forms of food consumption and considerations of the gastronomic offering, through the design of products, scenarios and services.

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Young Balkan Designers 2014: Everyday Heroes Dan D 2014: Dizajn na rubu / D-Day 2014: Borderline Design Dan D / D Day Zagreb, 30. 5 – 1. 6. 2014 Mikser Beograd, 5. – 8. 6. 2014 30. 5. – 1. 6. 2014. Edno Design Week Plovdiv, 21. – 30. 06. 2014. Skopje Design Week, 23. – 28. 09. 2014. organizatori / organisers Tirana Design Week, 15. 09. – 15. 10. 2014. Hrvatsko dizajnersko društvo / Croatian Designers Association, Pepermint organizatori / organisers Mikser Beograd, programski direktori / program directors Public Room Skopje, Hrvatsko dizajnersko društvo / Marko Golub, Ivana Borovnjak, Croatian Designers Association Bojan Krištofić, Luka Borčić ocjenjivački sud / jury Aleksandar Velinovski, koordinatori programa Ivana Borovnjak, Jelena Matić, Konstantin Grčić, / program co-ordinators Maja Lalić, Nikola Radeljković Mirjana Jakušić, Ana Rimac vizualni identitet / visual identity grafički dizajn / graphic design Marija Juza, Nikola Đurek Lana Grahek, Barbara Majnarić, Karla Paliska, dizajneri izlagači / exhibiting designers Igor Kuduz, Hrvoje Živčić Jelena Holec, Andreja Pavićević, Marijana Džambo, produkt dizajn / product design Avgerinakis George, Marko Oljača, Matija Čop, Tvrtko Bojić, Ana Rimac Papadopoulou Gesthimani, studio Presek, Niko web development Slobodan Dragošević Crnčević, Lucija Nićeno & Ana Šolić, Tamara Švonja, direktor produkcije / production director Jasenka Džanković, Marko Gamser, Miloš Opačić & Boris Kovaček, Pepermint Nemanja Obradović, Niko Crnčević, Draga Komparak, marketing & PR Petra Tomašegović Sara Gulyas, Tsvetan Stoykov, Ivan Dorotić & Luka suradnica na produkciji / production assistant Borčić, Octavian Badescu & Alexandru Ionita, Natali Monika Galić Ristovska & Miki Stefanoski, Nikola Krivokapić, Uroš Janković, Tamara Švonja, Milena Jovanović, Darja Rant, Snežana Jeremić

Tema festivala Borderline design / Dizajn na rubu pokuša- la je reflektirati transformacije samog okruženja u ko- Regionalna platforma Young Balkan Designers 2014 jem dizajn i dizajneri djeluju, kao i klizanja uloge i pojma posvećena je prepoznavanju, promociji i razvoju dizajna izvan njihovih uvriježenih okvira i parametara. kreativnih potencijala Balkana u području konceptu- Tema se utoliko može shvatiti višestruko – kao dijagno- alnog i produkt dizajna. Slogan YBD 2014 Svakodnevni za trenutne situacije i strukture odnosa u dizajnerskoj heroji, inspiriran je stavom Ezia Manznija o dizajnu kao produkciji, kao ‘izokrenuto’ očište koje nam može po- katalizatoru društvene promjene. On naglašava sna- moći da te odnose bolje razumijemo, kao prepoznavanje gu jednostavnih, postupnih promjena u društvenom prožimanja s drugim disciplinama, aktivnostima i prak- ponašanju kojima dizajneri mogu pridonijeti svojoj za- sama, kao dekonstrukcija samog dizajnerskog procesa, jednici, surađujući s lokalnim stanovništvom, rješavajući kao afirmacija nestabilnosti i iščašenosti ili, suprotno lokalne probleme i potrebe vezane uz ekonomsku krizu, tome, traženje reda, novih uporišta i novih modela rada i ograničenost resursa i nužnost pronalaženja alternativa suradnje. Predavanja su održali dizajner i publicist Dejan neučinkovitim javnim službama. Kršić, arhitekt Idis Turato, umjetnička direktorica Prašk- og kvadrijenala Sodja Lotker, talijanski dizajner interakci- The regional talent platform Young Balkan Designers ja Stefano Mirti i umjetnička/dizajnerska/arhitektonska 2014 is dedicated to identifying, promoting and develop- grupa Škart iz Beograda, uz prezentacije Ivana Klisurića ing creative potentials of the Balkans in the field of con- & Damira Prizmića, Organizam, Igora Kuduza, Nike Mi- ceptual and product design. Inspired by Ezio Manzini’s haljevića i Petre Milički. Popratni program uključivao je view on design as a catalyst for social change, the Young i niz gostujućih izložbi organizacija, inicijativa, škola i Balkan Designers slogan for 2014 is Everyday Heroes. It fakulteta iz regije, okruglih stolova, akcija, interdisci- emphasizes the power of simple, incremental changes plinarni Edu program prema koncepciji Luke Borčića, in social behavior that designers can contribute to their te središnju izložbu mladih dizajnera do 35 godina. Na community, collaborating with the locals, visioning and središnoj D-izložbi nagrade su dodijeljene sljedećim au- solving local problems and needs related to the econom- torima: This Town Needs Posters / Sven Sorić i Hrvoje ic crisis, limited resources, and the necessity for people Spudić (1. nagrada), Bokte – ‘the_zine’ / Anta Bučević, Tea to search for alternatives to inefficient public services. Pavić, Martin Peranović, Alma Šavar (2. nagrada), Poezija Express– Pjesma za ponijeti / Matea Bronić.

Više: www.2014.dan-d.info

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Slike iz podzemne – plakati Škole vizualnih umjetnosti iz njujorške podzemne željeznice / Subway images – School of Visual Arts Subway Posters, 1947 to the Present

27. 5. – 9. 6. 2014.

organizatori / organisers Udruga bivših učenika Škole primijenjene umjetnosti i Hrvatsko dizajnersko društvo / Association of Former Students of the School of Applied Arts and Design and the Croatian Designers Association partneri / partners Škola vizualnih umjetnosti New York, Škola primijenjene umjetnosti i dizajna Zagreb / School of Visual Arts New York, Shool of applied arts and design Zagreb kustos izložbe / exhibition curator Anthony P. Rhodes voditelji projekta / project leaders Bernarda Cesar, Marija Juza, Filip Pintarić suradnici / contributors Ivana Borovnjak, Francis DiTommaso, Marko Golub, Mirko Ilić asistenti voditelja projekta / project leaders’ assistants Vinka Mortigjija Anušić, Aleksandra Ajzenhamer, Tina Bauer, Lovro Bradač, Morana Laušin, Petar Novak, Goga Pavlek, Borderline Design as the theme of D-Day festival attempt- Lucija Saletto,Valentina Sunek ed to reflect the transformation of the environment in marketing & PR Ivanka Bičak which design and designers act, as well as the sliding produkcija / production UBU, HDD, ŠPUD, SVA role and definition of design outside of their custom- koncept i dizajn izložbe ary framework and parameters. Inasmuch, the theme / exhibition concept and design Organizam can be understand as manifold – as a diagnosis of the current situation and structure of relations in design production, as the ‘inverted’ point of view that can help us to understand these relations better, as a recognition Ova putujuća izložba okupila je 58 od brojnih plakata of the penetration into other disciplines, activities and dizajniranih za Školu vizualnih umjetnosti (SVA) izlagan- practices, as a deconstruction of the design process itself, ih u prostranom sustavu njujorške podzemne željeznice, as an affirmation of the instability and dislocations or, dajući tako uvid u povijest ove visokoškolske ustanove, contrary, the search for order, new strongholds and kao i ukupni talent brojnih dizajnera i ilustratora koji su new models of work and cooperation. The lectures were prošli kroz nju. Kustos izložbe je izvršni dopredsjednik held by the designer and publicist Dejan Kršić, architect SVA Anthony P. Rhodes. Idis Turato, artistic director of the Prague quadriennale Sodja Lotker, Italian designer of interactions Stefano This travelling exhibition gathered 58 of the numerous Mirti and arts/design/architecture group Škart from posters designed for the School of Visual arts (SVA) dis- Belgrade, with presentations from Ivan Klisurić & Damir played in the spacious system of the New York subway, Prizmić, Organizam, Igor Kuduz, Nika Mihaljević and thus providing an insight into the history of this higher Petra Milički. The supporting programme included a education institution, as well as the total talent of the series of guest exhibitions of organisations, initiatives, numerous designers and illustrators that attended it. schools and Universities from the region, round tables, The curator of the exhibition is executive vice-president actions, interdisciplinary training programme according of the SVA Anthony P. Rhodes. to the concept of Luka Borčić, and the central exhibition of young designers under 35. At the central D-exhibition awards were given to the following designers: This Town Needs Posters / Sven Sorić and Hrvoje Spudić (1st prize), Bokte – ‘the_zine’/ Anta Bučević, Tea Pavić, Martin Per- anović, Alma Šavar (2nd prize), Poezija Express– Pjesma za ponijeti / Matea Bronić.

Find out more at: www.2014.dan-d.info

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Priče o junacima – dizajn iz Flandrije Startas – izložba natječajnih radova / Tales of heroes – design from Flanders / Startas – exihibition of competition works

Galerija Forum / Forum Gallery, 27. 5. – 21. 6. 2014. Lauba, 28. 5. – 31. 5. 2014.

organizatori / organisers kustosice / curators Nataša Mihaljčišin, Galerija Forum i Hrvatsko dizajnersko društvo Mirna Reinprecht, Morana Matković / Forum Gallery and the Croatian Designers Association kustosica / curator: Inge Vranken (Design Flanders) koordinator / co-ordinator: Antun Maračić Tenisice Startas svoj su vrhunac popularnosti doživljele suradnik / contributor: Marko Golub 1987. kao službena obuća Univerzijade u Zagrebu, a 2009. novi život im je udahnuo dizajner Mauro Massarotto. Novi korak za Startas suradnja je s HDD-om i regionalni natječaj za dizajn kolekcije jesen/zima 2014./2015. Na Izložba suvremenog flamanskog dizajna pod naslovom izložbi su bili predstavljeni svi pristigli radovi, a na Priče o junacima omogućuje nam uvid u zanimljivu njenom otvaranju održana je i panel diskusija Od ideje produkciju upotrebnih predmeta koje karakterizira do proizvoda na kojoj su sudjelovali Davor Bruketa, Nina suvremena vizija, ali i nostalgične reminiscencije na Bačun, Roberta Bratović, Dragana Zlatar-Silađev, Nataša prošla vremena, uz tehnološka rješenja koja uvažavaju i Mihaljčišin, Mirna Reinprecht i Morana Matković. manufakturni pristup. Kustosica izložbe je Inge Vranken, a održana je u organizaciji belgijske institucije Design Startas sneakers reached their top popularity in 1987 Flanders, kao razmjena za HDD-ovu izložbu In a Nutshell. when they became part of the official uniform for the Uni- versiade in Zagreb. Designer Mauro Massarotto inspired The exhibition of contemporary Flemish design titled their new life in 2009. Regional design competition for Tales of Heroes presents an insight into an interesting the fall/winter 2014/2015 collection and collaboration collection of designed objects characterized by a con- with the CDS is a new step for Startas. The exhibition temporary vision, but also a nostalgic reminiscence of showcased all applied works and a panel discussion the past – using both technological solutions and man- was held at the opening under the title From idea to final ufacture approach. The exhibition was curated by Inge product with the participation of Davor Bruketa, Nina Vranken, organised by the Belgian institution Design Bačun, Roberta Bratović, Dragana Zlatar-Silađev, Nataša Flanders, and held as an exchange for CDA-s exhibition Mihaljčišin, Mirna Reinprecht and Morana Matković. In a Nutshell.

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Dizajn: na rubu (tematska izložba) Design Tourism Expo & Store / Design: Borderline (thematic exhibition) Luža, Dubrovnik, 4. 7. – 31. 8.2014. Dan D / D-Day, 30. 5. – 1. 6. 2014. organizatori / organisers koncept / concept Ivana Borovnjak, Marko Golub MasterCard, Alert advertising, Hrvatsko dizajnersko izlagači / exhibiting designers društvo / Croatian Designers Association Dora Bilić & Tina Müller, Dora Đurkesac & kustosice / curators Vesna Rohaček, Lina Kovačević, Dejan Kršić, Ivana Borovnjak, Roberta Bratović Igor Kuduz, Niko Mihaljević & Soft Temple II, dizajneri izlagači / exhibiting designers Petra Milički, Organizam, Damir Prizmić & Branimir Paškvan, Đurđa Prettyface, Filip Gordon Ivan Klisurić Frank, Filip Havranek & Kristina Lugonja, Grupa, Little Horse and Baby Beuys, Luka Borčić & Ivan Dorotić, Maja Mesić, Manufakturist, Mario Depicolzuane & Sabina Barbiš, Marko Pavlović, Mirna Cijela koncepcija Dizajna na rubu bila je pokušaj da se Raduka i Karmen Kolombo, Nikola Radeljković & Ivor zaobilaznim putem provocira pitanje što je dizajn danas i Zenzerović, Nina Bačun i Roberta Bratović, o čemu uopće govorimo kad govorimo o dizajnu, imajući Noel Šuran & Davorka Tumpić, Numen / ForUse, pritom u vidu sav splet istraživačkih, refleksivnih, di- Oaza, Ruđer Novak-Mikulić & Marija Ružić, Sanja skurzivnih, konceptualnih, kritičkih, eksperimentalnih, Rotter, Sheriff&Cherry, Simon Morasi Piperčić, rubnih, interdisciplinarnih, suradničkih praksi, novih Sonda, Superstudio 29, URIHO/Extra Ordinary Design, modela suradnje i djelovanja, novih odnosa i hijerarhija Vedran Klemens, Vlatka Leskovar, u dizajnu i uokolo dizajna. Ova pozivna izložba oslanja se Studio I-gle, Barbara Perica & Iva Mosner, Patrizia na autorske prakse iza kojih stoje upravo dizajneri, ali ih Doná, Donata Krznarić Milić, Slaven Milić, Ines je teško sagledavati kao striktno dizajnerske u pogledu Vlahović, Igor Kuduz, Margareta Lekić, Ivana Omazić, njihove utilitarnosti i praktičnosti, a mahom nastaju Mirena Škarić, Ksenija Jurinec, Borovo, Ivo Sršen iz refleksije samih autora prema kontekstu vlastitog i Nina Bačun, Superstudio29, Tea Janković, Filip djelovanja i pretpostavkama koje ono nosi. Gordon Frank

The entire concept of the Borderline Design was an attempt to provoke the question, in a roundabout way, what design is today and what we are even talking Komercijalna tematska izložba sa širokim rasponom about when discussing design, having at the same time dizajnerskih radova koji sežu od dizajna namještaja, in sight the entire plexus of research, reflective, dis- preko gotovo konceptualnih radova do suvenira s util- cursive, conceptual, critical, experimental, borderline, itarnom komponentom. Tematski aspekt proistječe interdisciplinary, cooperative practices, new models of iz HDD-ovog programa Design Tourism, koji je putem cooperation and action, new relations and a hierarchy nekoliko godišnjih natječaja pružio poticajan kontekst in design and around design. The exhibition relies on za produkciju niza novih radova mladih, ali i već etabli- authorial practices of designers that are, nonetheless, ranih hrvatskih dizajnera i dizajnerica. Uz izbor radova difficult to view as strictly design-practices with regard nastalih putem natječaja u sklopu platforme Design to their utilitarity and practicality, and they are mostly Tourism, izložba predstavlja i brojne proizvode etabli- a result of the reflection of the designers themselves on ranih hrvatskih dizajnera i dizajnerica od kojih su mnogi the context of their own work and the presumptions ovjenčani i važnim strukovnim nagradama. it includes. Više: www.designtourism.org

A commercial and thematic exhibition with a wide range of design works that vary from furniture design, and almost conceptual works to souvenirs with a utilitarian component. The thematic aspect arises from HDD’s Design Tourism programme, which, via several annual competitions, provided a stimulating context for the production of a series of new works of both young and already established Croatian designers. In addition to the selection of works created as part of the competition of the Design Tourism platform, the exhibition also presents numerous products of established Croatian designers, many of which received important professional awards.

Find out more at:www.designtourism.org

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Natječaji / Competitions

Javni natječaj za dizajn vizualnog identiteta HZZO / Public tender for the Croatian Health Insurance Fund’s visual identity design

rujan - studeni 2012. / September – November 2012

savjetovanje / consultancy Hrvatsko dizajnersko društvo / Croatian Designers Association ocjenjivački sud / competition jury Siniša Varga (HZZO), Nenad Korkut (HZZO), Sanja Milanović (HZZO), Ivan Doroghy (HDD), Ira Payer (HDD) nagrade / awards 1. Hamper studio; 2. Hrvoje Živčić & Dario Dević; 3. Željka Županić

Natječaj je proveo HZZO u sklopu sveobuhvatne reforme poslovnih procesa s ciljem usvajanja novog vizualnog identiteta kao jednog od važnih vidljivih koraka prema izgradnji prepoznatljive, pozitivne slike HZZO-a kao ustanove u koju korisnici prava iz zdravstvenog osig- uranja imaju povjerenje temeljeno na kvaliteti, brzini i kontinuiranom unapređenju razine usluga. Namjera je bila dobiti nov, suvremen, komunikativan i dojmljiv vizualni identitet koji će jasno razlikovati HZZO od javnih i privatnih osiguravajućih društava, te drugih javnih ustanova koje u nazivu imaju zdravstvenu komponentu.

The tender was carried out by the CHIF as a part of its comprehensive reform of business processes. The aim was to adopt a new visual identity as one of the important visible steps towards a recognisable and positive image of the CHIF as an institution trusted by its health insurance beneficiaries for its quality, speed and continuous improvement of the level of services provided. The intention was to achieve a new, contemporary, com- municative and impressive visual identity which would clearly differentiate CHIF from other public and private insurance companies, as well as from other public institutions which have a health component in their title.

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Pozivni natječaj za idejno rješenje ELEN stanice Pozivni Natječaj za dizajn vizualnog za brzo punjenje električnih vozila identiteta ‘Vina Croatia’ / Call for proposals for the conceptual design of the / Call for proposals for the ‘Vina Croatia’ ELEN station for fast charging of electric vehicles visual identity design

listopad 2012. - siječanj 2013. prosinac 2012. – ožujak 2013. / October 2012 – January 2013 / December 2012 – March 2013

raspisivač natječaja / contractior raspisivač natječaja / contractor HEP Opskrba d.o.o. u suradnji s Gradom Zagrebom / Hrvatska gospodarska komora HEP Opskrba in collaboration with the City of Zagreb / Croatian Chamber of Economy provoditelj / competition executor provoditelj / competition executor Hrvatsko dizajnersko društvo Hrvatsko dizajnersko društvo / Croatian Designers Association / Croatian Designers Association ocjenjivački sud / competition jury ocjenjivački sud / competition jury Sonja Tadej (HDD), Filip Despot (HDD), Đuro Horvat (Udruženje vinarstva HGK), Tomislav Gordana Golik (HDD), Nada Podnar (HEP), Bolfan (Udruženje vinarstva HGK), Izvorka Jurić (HDD), Silvije Novak (Grad Zagreb / City of Zagreb) Maroje Mrduljaš (HDD), Ira Payer (HDD) voditeljica natječaja / competition manager voditeljica natječaja / competition manager Petra Križan Mirna Reinprecht nagrade / awards nagrade / awards 1. RE-SO-RI/ Neven Kovačić (Redesign), Vedran Jukić 1. nagrada: Studio Cuculić (Soda arhitekti) te suradnici / with contribution from: Mate Rimac (Rimac automobili), Dario Hrastović (Hrastović inženjering) Sanja Kovačić (Redesign); 2. Offstudio (Ana Banić Gottlicher, Maša Vukmanović) te suradnici / with contribution from: Ivan Galić Cilj natječaja stvaranje je prepoznatljivog i atraktivnog (Nop studio), Zlatko Galić (Novalux), Krešimir Tarnik znaka hrvatskih vina koja se putem Udruženja vinarst- (Tarnik-grad, statika), Ivica Lipovac (Emi23) va HGK zajednički predstavljaju na svjetskom tržištu. Odabrani vizualni identitet treba predstavljati brend Vina Croatia s naglaskom na raznolikosti (regionalne, nacionalne i međunarodne) te činiti Vina Croatia učinko- vitim ambasadorima novog nacionalnog vinskog iden- HEP Opskrba d.o.o. u suradnji s Gradom Zagrebom titeta, naročito u sprezi s interesima hrvatskog turizma. postavit će prve dvije ogledne ELEN stanice za brzo Usvajanje vizualnog identiteta predstavlja prvi korak u punjenje električnih vozila u Zagrebu, dok se u sljedećoj izgradnji funkcionalnog i prepoznatljivog destinacijskog fazi planira razvoj javne infrastrukture za punjenje elek- vinskog brenda Vina Croatia. tričnih vozila te povezivanje s europskom infrastruktu- rom. Cilj natječaja je usvajanje idejnog rješenja za prvu The aim of this call is to create a recognisable and at- ELEN stanicu za brzo punjenje električnih vozila, koje će tractive designation of Croatian wines which are jointly služiti kao podloga za izvedbeno rješenje i izradu projek- marketed on the global market through the Association tne dokumentacije. Ovo idejno rješenje primijenit će se of Wine Producers of the Croatian Chamber of Economy. na sve ostale stanice za punjenje električnih vozila koje The selected visual identity should represent the brand će se postaviti u Republici Hrvatskoj. Vina Croatia, placing an emphasis on diversity (regional, national and international) and making Vina Croatia HEP Opskrba d.o.o. in collaboration with the City of an effective ambassador of the new wine identity, in Zagreb will place the first two sample ELEN stations for particular in line with the interests of Croatian tourism. fast charging of electric vehicles in Zagreb while the next Adopting visual identity will be the first step towards stage envisages the development of public infrastruc- developing a functional and recognisable destination ture for electric vehicle charging and the connection to wine brand Vina Croatia. the European infrastructure. The aim of the call is to adopt a conceptual design for the first ELEN station for fast charging of electric vehicles which will serve as the basis for a detailed design and project documentation. This conceptual design will be applicable to all other electric vehicle charging stations which will be located in the Republic of Croatia.

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Pozivni Natječaj za dizajn vizualnog identiteta, Regionalni otvoreni natječaj za dizajn Startas signalistike i postava zbirke ‘Lipa pamti’ jesen/zima kolekcije 2014 – 15. / Call for proposals for the visual identity design, si- / Regional open tender for design Startas gnage and the display of the collection ‘Lipa pamti’ autumn/winter collection 2014 – 15

srpanj – studeni 2013. / July – November 2013 veljača – travanj 2014. / February – April 2014

raspisivač natječaja / contractor raspisivač natječaja / contractor Općina Matulji / Municipality of Matulji Borovo d.d. provoditelj / competition executor provoditelj / competition executor Hrvatsko dizajnersko društvo Hrvatsko dizajnersko društvo / Croatian Designers Association / Croatian Designers Association ocjenjivački sud / competition jury ocjenjivački sud / competition jury Tea Perinčić (Pomorski i povijesni muzej Hrvatskog Andreja Bistričić (HDD), Davor Bruketa (HDD), primorja Rijeka), Željko Bistrović (Konzervatorski Silvio Vujičić (HDD), Silvio Halt (Borovo), odjel u Rijeci), Eni Šebalj (Općina Matulji), Gordan Kolundžić (Borovo) Koraljka Vlajo (HDD), Nikola Radeljković (HDD), voditeljice natječaja / competition managers Vanja Cuculić (HDD), Silvije Novak (HDD) Mirna Ptiček, Nataša Mihaljčišin voditeljice natječaja / competition managers nagrade / awards Mirna Reinprecht i Ivana Borovnjak 1. nagrada: Nina Bačun i Roberta Bratović; nagrade / awards 2. nagrada: Draga Komparak; 1. nagrada: Damir Gamulin i Antun Sevšek 3.nagrada: Pancer-Budić (Alica Pancer, Vendi Budić, Ana Mack, Sandro Jurišić)

25 godina nakon teškog stradanja sela Lipa u II. svjetskom ratu osnovan je spomen muzej odnosno memorijalna Cilj natječaja je dizajn jesensko-zimske 2014/15 kolekcije zbirka Lipa pamti. 2011. godine krenulo se s aktivnostima Startas tenisica. U želji da ‘startasice’ ostanu tenisice obnove muzejske zgrade i realizacijom novog koncepta za sve koji se s njima identificiraju, priuštiva, široko muzeološkog postava, koji će se obzirom na obim posla prisutna obuća, želja naručitelja je novom kolekcijom realizirati u etapama. Prva etapa realizacije je predmet učiniti ih nosivima neovisno o vremenskim prilikama; ovog natječaja tj. dizajn vizualnog identiteta, signalistike proširiti doseg Startasa iz najlakše i ‘najbezbrižnije’ kat- i postava zbirke. egorije obuće u jedan razred iznad. Cilj je novim proiz- vodom stvoriti preduvjete za osvajanje nove pozicije 25 years after the village Lipa was horribly damaged na regionalnom i globalnom tržištu i ispunjavanje svog in World War II, a memorial museum or a memorial potencijala kultnog, no do danas nedovoljno tržišno collection entitled Lipa pamti was created. In 2011, the ostvarenog brenda. activities of renewal of the museum building and the realisation of the new concept of museum display were The aim of this tender is to select design for the au- initiated and these will be rolled out in stages because of tumn-winter 2014/15 collection of Startas tennis shoes. the huge amount of work to be done. The first stage of In the attempt to keep ‘startasice’ the tennis shoes ev- realisation is the subject matter of this call for proposals, eryone can identify with, being affordable and widely that is, the visual identity design, signage and display present, the desire of the client is to make the new col- of the collection. lection wearable regardless of the weather forecasts; to expand the reach of Startas from the easiest and ‘care- free’ category of shoes to the shoes that go one class up. The aim is to use this product to create preconditions for winning over a new position on the regional and global markets and fulfilling its potential as a cult but hardly sufficiently marketed brand.

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HDD galerija / HDD gallery

HDD galerija predstavlja dizajnersku produkciju visoke Javni natječaj za dizajn vizualnog identiteta razine i kulturne vrijednosti, naručene, samoinicirane i Zaklade Hrvatska kuća – Croatia House ‘osobne’ autorske radove, ali i brojne projekte koji upravo / Public tender for the visual identity design of metodama dizajna reagiraju na društvene pojave i pro- the Croatia House Foundation bleme. Osobito važan dio galerijskog programa bavi se poviješću dizajna u Hrvatskoj te reaktualizacijom djela travanj - svibanj 2014. / April – May 2014 domaćih dizajnera iz prošlih desetljeća, te nastoji pri- kazati dizajn ne samo u njegovom oblikovnom i estet- raspisivač natječaja / contractor skom kontinuitetu, nego i kroz društveni, ekonomski Zaklada Hrvatska kuća / Croatia House Foundation i kulturni kontekst u kojem se razvijao. Cilj galerijskog provoditelj / competition executor programa općenito je utjecati na javnu svijest o dizajnu Hrvatsko dizajnersko društvo kao aktivnosti koja je inherentno upravo vezana uz okru- / Croatian Designers Association ženje u kojem djeluje te čije je poslanje upravo djelovati ocjenjivački sud / competition jury pozitivno na to okruženje, čineći ga boljim, stimulativni- Sandra Sekulić (ZHK-MVEP), Maja Razović Kocijan jim i kvalitetnijim. U tom smislu, izložbeni programi nisu (ZHK), Damir Bralić (HDD), Lana Cavar (HDD), striktno fokusirani na proizvode dizajna ili na konkretne Feđa Vukić (HDD) predmete i ostvarenja, koliko na diskurzivne i kritičke voditeljica natječaja / competition manager aspekte dizajna te na područja njegova presijecanja s Mirna Ptiček drugim disciplinama. Stoga program svake godine uk- nagrade / awards ljučuje i niz projekata koji su bazirani na eksperimentu, 1. nagrada: Škatulica (Matea Bronić, istraživanju, dokumentiranju i refleksiji, gdje je izložba Tin Kadoić, Maša Milovac); samo jedna od faza projekta, odnosno jedna od mogućih 2. nagrada: Superstudio29 materijalizacija određenog smjera razmišljanja. Voditelj (Ira Payer, Iva Hrvatin, Marina Jukić); galerije je Marko Golub, asistent voditelja Bojan Krištofić, 3. nagrada: Boris Ljubičić a članovi Savjeta galerije su Zlatko Kapetanović, Maroje Mrduljaš, Sunčica Ostoić, Željko Serdarević, Slaven Tolj, Nevena Tudor Perković.

HDD gallery presents a high-level designer production Zaklada ‘Hrvatska kuća’ osnovana je s ciljem unapređen- of significant cultural value, commissioned self-initiat- ja bilateralnih odnosa s drugim državama putem pro- ed and ‘personal’ works, as well as numerous projects mocije hrvatske kulture, umjetnosti, jezika i kulturne which respond to social occurrences and problems as a baštine u svijetu. Cilj natječaja je vizualni identitet koji result of their design methods. A particularly important prati svaku aktivnost Zaklade sa svrhom predstavljanja part of the gallery’s programme tackles the history of cjelovite hrvatske kulture, kako povijesnog nasljeđa tako design in Croatia and brings up to date the works of local i suvremenih dostignuća, te pruža adekvatan okvir za designers of the past decades. It also seeks to present provođenje međunarodne kulturne politike RH u skladu design not only in its formal and stylistic continuity but s budućim strategijama razvoja kulture. also through a social, economic and cultural context in which it has been developing. The aim of the gallery’s The Croatia House Foundation was established with programme is to generally affect public awareness on the purpose of improving bilateral relations with other design as an activity that is inherently linked to the countries through the promotion of Croatian culture, surroundings in which it operates and whose task is to art, language and cultural heritage in the world. The impact that particular surroundings in a positive man- aim of the tender is the visual identity accompanying ner, making it better, more stimulating and of higher all activities of the Foundation that intend to present quality. In this sense, the exhibition programmes are the overall Croatian culture, historical heritage and not strictly focused on design products or particular contemporary achievements, and offering an adequate items and achievements but they rather aim at discur- framework for implementing international cultural sive and critical aspects of design, as well as the areas of policy of the Republic of Croatia in line with the future its overlapping with other disciplines. Therefore, every cultural development strategies. year the programme covers a number of projects based on experiments, research, documenting and reflecting where exhibition is only a project’s stage, or one of potential forms of the materialised line of reasoning. The gallery’s curator is Marko Golub, his assistant is Bojan Krištofić, and the members of the Gallery Council are Zlatko Kapetanović, Maroje Mrduljaš, Sunčica Ostoić, Željko Serdarević, Slaven Tolj, Nevena Tudor Perković.

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Interakcije 2004. – 2012. Stanislav Habjan & Danijel Žeželj: / Interactions 2004 – 2012 Dućan metafora / Stanislav Habjan & Danijel Žeželj: Shop of metaphors 18. 9. – 2. 10. 2012. 17. 10. – 6. 11. 2012. [d]razgovor / [d]talk Ivica Mitrović, Oleg Šuran, 18. 9. 2012. [d]razgovor / [d]talk S. Habjan, D. Žeželj, H. Đukez, kustos / curator Ivica Mitrović Boris Cvjetanović, 26. 10. 2012. dizajn / design Oleg Šuran fotografije / photographs Jakov Šuran koncert / concert Cinkuši, 7. 11. 2012. producent / producer Marko Golub promocija stripa Sophia / promotion of the graphic novel Sophia Danijel Žeželj, Marko Golub, Matko Vladanović, Izložba je predstavila odabir radova nastalih na radionica- Stanislav Habjan, 7. 11. 2012. ma dizajna interakcija koje se od 2004. godine održavaju na Odsjeku za dizajn vizualnih komunikacija Umjetničke koncept / concept akademije u Splitu. Primarni cilj izložbe bio je predsta- Stanislav Habjan, Danijel Žeželj viti specifičnu metodologiju i konceptualni okvir reali- kustos / curator Marko Golub ziranih radionica, te inicirati razgovor između aktera dizajn instalacije / installation design dizajnerske prakse, kritike i edukacije u ovom području. Hrvoje Đukez Svaka od radionica bila je tematski definirana, poput: Nevidljivi gradovi, Javni prostor, Suvremene utopije itd. Neki od objekata predstavljenih na izložbi originalno su bili dijelovi instalacija u javnom prostoru, ili su zamišljeni Dućan metafora istovremeno je i umjetnička instalacija, za drugi kontekst od galerijskog, ali su u ovom slučaju ostvarena fikcija iz izložene slikovnice, dizajnerski dućan, ‘prenamijenjeni’. nakladnička knjižara, kabinet čuda, muzejska kolekcija, putujuća scenografija, dnevni boravak i prostor za igru. This exhibition presents a selection of works developed Među artiklima su slikovnice, grafičke mape, plakati during the design interaction workshops which have i dizajnerski proizvodi koje autori ostvaruju zajedno, been continuously held at the Department of Visual potom strip albumi i slike Danijela Žeželja, te niz edicija Communication Design at the University of Split since i objekata u oblikovanju Stanislava Habjana kao što su 2004. The primary objective of the exhibition was to ‘ponovno napisivi’ književni klasici, pisaći stol za totalni present a specific methodology and a conceptual frame- nogomet, literarne instalacije, neobični upotrebni pred- work of the workshops held, as well as to initiate a con- meti vezani uz pisanje i knjige, izumi i relikvije. Dućan versation between the stakeholders in design practice, metafora u svakom se novom prostoru u kojem se izlaže criticism and education areas. Each workshop was the- iznova transformira, gradeći svoj ambijent u dosluhu s matically defined, such as:Invisible Cities, Public Space, adresom, ali zadržavajući osnovnu ideju broda usidrenog Contemporary Utopias etc. Some of the items presented u luci na određeno vrijeme. at the exhibition were originally parts of public space installations or were envisaged for a different context The shop of metaphors is at the same time an art instal- than the gallery setting but were in this case ‘repurposed’. lation, a realised fiction stemming from an exhibited picture book, a designer store, a bookshop, a cabinet of wonders, a museum collection, a travelling scenography, a living room and a playing area. The articles include picture books, graphic maps, posters and designer products created jointly by the artists, comic books and paintings by Danijel Žeželj, and a number of editions and objects developed by Stanislav Habjan such as ‘rewriteable’ literary classics, a desktop for Total Football, literary installations, unusual usable items related to the process of writing and books, inventions and relics. The Shop of Metaphors transforms repeatedly in each exhibition space, building thus its ambiance in tune with the address but still maintaining the main idea of the ship anchored in a harbour for a determinate period of time.

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Predavanje Jure Miklavca: Izložba radova Natječaja za dizajn Dizajn proces i kontekst proizvoda vizualnog identiteta HZZO-a / Lecture by Jure Miklavc: / Exhibition of the works from the CPHI’s visual Design process and context identity design competition of the product 4. 12. – 6. 12. 2012. 12. 11. 2012. voditeljica natječaja / competition manager Mirna Reinprecht Predavanje je pružilo realan uvid u proces jednog tipič- nog velikoserijskog proizvoda od koncepta do realizacije. Dizajner je nastojao dati i odgovor zašto dizajnirati još Izložbom su predstavljeni svi radovi pristigli na natječaj jedno rasvjetno tijelo, kakvi su postupci uvjetovali odabir koji je proveo Hrvatski zavod za zdravstveno osiguranje konačnog dizajna, te opisati korake koji su doveli do u sklopu sveobuhvatne reforme poslovnih procesa, čija tehnoloških rješenja. se realizacija planira u četverogodišnjem mandatnom razdoblju započetom 2012., s ciljem da suvremen ka- The lecture showcased a realistic insight into the design rakter HZZO-a postane očit i kroz elemente vizualne process of a typical large series product – from it's con- komunikacije. ception to the production. The designer also attempted respond to the question of why build another lamp, This exhibition presents all works received during a which procedures led to it's final design, and which steps competition organised by the Croatian Public Health were taken to reach it's technological solutions. Institute (CPHI) as part of its comprehensive reform of business processes. Its realisation is planned for a four- year mandate beginning this year and the objective is for the contemporary character of the CPHI to become more evident also through the elements of visual communication.

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Bor s nama / Xmas Tree Superstore 2012 Dario Dević & Iva Maria Jurić: Slideshow

8. 12. 2012. – 7. 1. 2013. 25. – 26. 1. 2013.

partneri projekta / project partners koncept / concept Dario Dević, Cerovski print boutique, Igepa-Plana, Iva Maria Jurić Muzej za umjetnost i obrt kustos / curator Marko Golub inicijalni koncept / initial concept Ira Payer, Koraljka Vlajo kustos / curator Marko Golub dizajn vizualnog identiteta i postava Jednovečernja multikanalna projekcija u izlozima / visual identity and exhibition design HDD-a povodom manifestacije Noć muzeja. Slideshow Ana Rimac, Marina Jukić je video-kolaž sastavljen od nekoliko stotina animira- ocjenjivački sud / jury nih gifova i statičnih vizuala inspiriranih masovnom Filip Despot, Ira Payer, Koraljka Vlajo, i popularnom kulturom. Njihovi autori su anonimni Nataša Marić, Maja Mišić fanovi s interneta, koji TV serije, filmove, reality showo- ve, glazbene spotove i druge komade potrošne zabave svakodnevno opsesivno rastavljaju, reinterpretiraju i izmiču iz konteksta. Same te serije, spotovi i filmovi su Tradicionalna godišnja izložba dizajnerskih radova koji pak rezultat dugotrajnog i očitog recikliranja trendova tematiziraju blagdanske rituale, konzumersku atmosfe- i elemenata popularne kulture, koje su potom sastavlje- ru oko Božića i Nove godine i donose duhovite i kritičke ne u novo djelo, ready-made od manjih ready-madeova, dizajnerske reinterpretacije božićnih/novogodišnjih svojevrsna ‘kopija kopije kopije’. rekvizita i artefakata. Koncept je ove godine proširen na razmatranje same izložbe kao imaginarnog dućana i One-night multichannel projection in HDD’s windows natječajnih radova kao imaginarnih proizvoda i brendova. on the occasion of the event of the Night of Museums. Imaginarni Superstore nudi predmete koji evociraju Slideshow is a video-collage made of several hundreds priče, pozivaju na akciju, nude komentar društva u ko- of animated gifs and static visuals inspired by mass and jem živimo, ali i zavode, stimuliraju maštu i izmicanje popular culture. Their originators are anonymous fans iz svakodnevice. Cilj izložbe je ohrabriti i originalnu from the internet, who continuously and obsessively proizvodnju koja bi imala potencijal daljnjeg razvoja, i disassemble, reinterpret and displace TV shows, films, izvan okvira samog natječaja i izložbe. reality shows, music videos and other items of consum- able entertainment from the context. These TV shows, A traditional annual exhibition of designer works em- videos and films are a result of long-term and evident bodying holiday rituals and the pervading consumer recycling of the trends and elements of popular cul- atmosphere, and revealing funny and critical designer ture, which are then assembled to create a new work, a reinterpretations of Christmas/New Year items and ready-made made of smaller ready-mades, a kind of ‘a artefacts. This year’s concept has been expanded to re- copy’s copy’s copy’. think the very exhibition as an imaginary shop and the competition works as imaginary products and brands. This imaginary Superstore offers items which evoke stories, call for action, provide a comment to society at large, but they also seduce, stimulate our imagination and entice us to step out of our everyday life. The aim of the exhibition is to stimulate original production which has a potential for further development outside the framework of the competition and exhibition.

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Dizajn projekt: Lerotic.de – Dizajnerski i aktivistički arhiv Tomi- VIII Mediteranske igre, Split 1979. slava Lerotića / Design project: / Lerotic.de – Design and activism 8th Mediterranean games, Split 1979 archive of Tomislav Lerotić

5. 2. – 23. 2. 2013. 28. 2. – 21. 3. 2013.

vodstvo kroz izložbu [d]razgovor / [d]talk Dejan Kršić, / exhibition tour 9. 2. 2013. Slaven Dobrović, 12. 3. 2013. [d]razgovor / [d]talk Boris Ljubičić, 14. 2. 2013. koncept / concept Marko Golub, Dada Lerotić koncept / concept Boris Ljubičić tekst / text Dejan Kršić kustos / curator Marko Golub suradnici / contributors Jakov Lerotić, Juraj Lerotić, Tina Ivezić, Ivica Mitrović, Bojan Krištofić sudionici video intervjua / video interviewees Igor Čaljkušić, Izložba fokusirana na jedan od najambicioznijih i naj- Goranka Adam, Stanko Uršić kompleksnijih dizajnerskih zahvata svog vremena – dizajn vizualnog identiteta međunarodne sportske manifestacije VIII mediteranskih igara – pruža uvid u njegov opseg, preciznu i slojevitu logiku, tehnološku inventiv- nost u pojedinim segmentima te čistu konceptualnost, Izložba posvećena umjetniku, dizajneru, ekološkom pročišćenu od grafičkog i umjetničkog izraza. Izložba aktivistu i sveučilišnom profesoru Tomislavu Lerotiću predstavlja logiku, analizu, razvoj i derivacije svih eleme- usredotočena je na tri područja djelovanja ovog autora nata vizualnog identiteta VIII mediteranskih igara kroz koja se međusobno nerijetko i prepliću – od projekata, didaktički osmišljene panoe čiji je autor Boris Ljubičić, prijedloga i koncepata vezanih za očuvanje okoliša, pri- art direktor i vodeći član tima koji je projekt realizirao. mjereno zbrinjavanje otpada, označavanje proizvoda prilagođeno potrošačima, pravo na informaciju, obnov- This exhibition focuses on one of the most ambitious ljive izvore energije, preko edukacijskog angažmana u and most complex designer interventions of the time području dizajna, do luminokinetičkih objekata koje je – the design of the visual identity of the international realizirao i izlagao od početka devedesetih godina. Veći sports event, the 8th Mediterranean Games – and pro- njen dio baziran je na arhivskoj dokumentaciji kroz koju vides an insight into its scope, precise and layered logics, se nastoji dati uvide u procese i kontekst iza pojedinih technological ingenuity in certain segments and pure projekata, a uključuje fotografije, plakate, službene do- conceptualism, cleared from graphic and art expression. kumente, tekstove, video zapise, pregled nekoliko refe- The exhibition presents logics, analysis, development rentnih web sjedišta te intervjue s Lerotićevim bliskim and derivatives of all visual identity elements of the 8th suradnicima i kolegama. Mediterranean Games through didactically envisaged boards developed by Boris Ljubičić, art director and the The exhibition dedicated to the artist, designer, envi- leading member of the team who realised the project. ronmental activist and university professor Tomislav Lerotić focuses on three areas of his activity, which often overlap – from projects, proposals and concepts related to environmental protection, adequate waste disposal, consumer appropriate product labelling, right to information, renewable energy sources, to the training engagement in the area of design, and lumino-kinetic items he has been creating and exhibiting since the beginning of the nineties. For the most part it is based on archival documentation through which an attempt is made to provide an insight into the processes and the context underlying certain projects. It also involves photos, posters, official documents, texts, videos, an overview of several referencing websites and the interviews with Lerotić’s close associates and colleagues.

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Predavanje i promocija knjige Ivice Nieuw NDG: Did it myself Mitrovića Dizajniranje novih medija / Lecture and promotion of the book 28. 3. – 16. 4. 2013. Designing new media by Ivica Mitrović [d]razgovor / [d]talk Ivan Antunović, 7. 3. 2013. Željko Serdarević, Željko Luketić, 11. 4. 2013.

sudionici / participants koncept / concept Ivan Antunović Ivica Mitrović, Dejan Kršić, Damir Bralić, kustos / curator Marko Golub Marko Golub

Nieuw NDG je pseudonim dizajnera i glazbenika Ivana Ovaj svojevrsni pregled dizajnerskih praksi u kontekstu Antunovića, koji ga koristi isključivo za svoje aktivnosti novih medija obuhvaća razdoblje od sredine devedesetih u području grafičkog dizajna. Istovremeno, kao autor i godina do 2010., a problematizira njihove specifičnosti, izvođač elektronske muzike, isti se ovisno o polazišti- putove razvoja te tehnološki i konceptualni okvir u ko- ma i kontekstu služi i nizom drugih identiteta kao što jem su se kretale, i to na primjerima reprezentativnih su Umrijeti za strojem, 1/2 i Split Personalities. Naslov odabranih projekata. Knjigu je izdao Odsjek za dizajn izložbe Did It Myself sasvim jasno naznačava prirodu te vizualnih komunikacija Umjetničke akademije u Splitu, vrste djelovanja, odnosno potpunu usredotočenost na urednik je Dejan Kršić, a dizajn potpisuje Oleg Šuran. uradi-sam metodologiju u praktički svim aspektima – od proizvodnje glazbe, preko oblikovanja specifičnih vizuala Ivica Mitrović’s book presents a review of various design i različitih vrsta pakiranja za nosače zvuka, do njihove practices in the context of new media during the peri- distribucije u manjim ili većim nakladama. Upravo dizajn od from the mid-90's to 2010. The book problematizes u Antunovićevom slučaju ima temeljnu ulogu utoliko što their specificities, their evolution and the technological se kroz njega ostvaruju, povezuju i diferenciraju različiti and conceptual framework in which they moved, all identiteti, različite ‘persone’ s kojima ovaj autor operira. this supported with examples. It was published by the Department for Visual Communications Design of the Nieuw NDG is a pseudonym of the designer and musician Split Art Academy, edited by Dejan Kršić and designed Ivan Antunović, who uses it for his activities in the area by Oleg Šuran. of graphic design. At the same time, being an electronic music composer and performer and depending on the starting points and the context, he uses a number of other identities such as Umrijeti za strojem, 1/2 and Split Personalities. The title of the exhibition Did It Myself clearly denotes the nature of this type of activity, or a complete focus on the do-it-yourself methodology in virtually all aspects – from music production, creation of specific visuals and various kinds of packaging for CDs, to their distribution in larger or smaller number of copies. It is the design in Antunović’s case that plays a fundamental role, as various identities and ‘personas’ this artist operates with are realised, linked and distinguished through it.

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Lina Kovačević: Future Artefacts Iskopavanja II: Znakovi proizvodnje – proizvodnja znakova 28. 5. – 11. 6. 2013. TŽV Gredelj, 14. – 16. 6. 2013. [d]razgovor / [d]talk Lina Kovačević, 19. 6. 2013. koncept i dizajn / concept and design Lana Cavar, Narcisa Vukojević performansi / performances 6. 6. – 11. 6. 2013.

koncept / concept Lina Kovačević Drugo izdanje projekta Iskopavanja, Znakovi proizvodnje kustos / curator Marko Golub – proizvodnja znakova, tematizira vizualna identitetska obilježja, zaštitne znakove uglavnom proizvodnih, ali i ostalih poslovnih subjekata koji su djelovali na području Hrvatske u istom razdoblju. Riječ je o izboru više od dvije Predstavljanje novih radova Line Kovačević koji govore stotine zaštitnih znakova (vizualnih obilježja) rekon- upravo o našem današnjem svakodnevnom bivanju ni struiranih prema izvornim predlošcima pronađenima u ovdje – ni tamo, istovremeno unutar mreže i izvan nje. različitim arhivskim materijalima ili kao memorabilija Svaki od tih objekata je svojevrsna mutacija, virus, pri- (značke). Osim na oblikovnu/estetsku komponentu, lagodba poznatog svakodnevnog predmeta novom sta- izložba se fokusirala na kontekstualizaciju izabranog nju stvari i utoliko djeluju kao da su nesavršena, napola vizualnog materijala prema povijesnom vremenu i pros- realizirana najava nečeg što tek dolazi. No zapravo su toru i pronalaženje eventualnih intertekstualnih veza samo odraz tekuće zarobljenosti između dviju privid- sa suvremenom praksom hrvatskog dizajna. Izložba je nih samodostatnosti – starih navika i onih novih. Osim bila dio programa HDD galerije, ali je realizirana u okviru recentnih projekata Set za romantičnu online večeru i Fu- festivala Dan D u prostoru TŽV Gredelj. ture Artefacts, u okviru izložbe predstavljena je i mini-retrospektiva plakata Line Kovačević nastalih od 2000-ih The second edition of the Excavations project – Signs do danas za različite projekte s područja tzv. nezavisne of Production, Production of Signs – deals with visual scene, poput plakata za Urbanfestival, Human Rights identities, trademarks of mostly manufacturing but Film Festival i drugih. also other business subjects which operated during the second half of the 20th century. It is a selection of more This is a presentation of new works by Lina Kovačević, than 200 signs (visual trademarks) reconstructed from which tells a story of our everyday existence ‘neither original sources found in different archival materials or here nor there’, simultaneously inside the network and in memorabilia (such as badges). Besides the aesthetic outside it. Each of these items is a kind of mutation, a component, the exhibition really focused on the con- virus, a form of adaptation of a known everyday item textualization of selected visual material according to to a new state of play and this is why they seem an im- their time and space of origin, as well as the potential perfect, half-realised announcement of something that intertextual links with contemporary Croatian design is yet to come. They are actually merely a reflection of practice. The exhibition as part of the program of the the present state of captivity between two apparent HDD Gallery, but it was held in the context of the D-Day self-sufficiencies – old habits and new habits. Besides festival in TŽV Gredelj. the recent projects A set for a romantic dinner online and Future Artefacts, the exhibition also presents a mini-retrospective of Lina Kovačević’s posters made between 2000 and today for the purpose of various projects in the area of the so-called independent scene, like posters for the Urbanfestival, Human Rights Film Festival and other.

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Prostori između: dijalozi o dizajnu izložbi Grupa: Ili_ili – sustav modularne rasvjete / Spaces in between: dialogues on the / Grupa: Ili_ili – modular lighting system exhibition design 24. 9. – 8. 10. 2013. 4. 7. – 17. 7. 2013. [d]razgovor / [d]talk koncept / concept Lea Vene Filip Despot, Ivana Pavić, Tihana Taraba, 16. 10. 2013. autorica video intervjua i teksta / video interviews and text Lea Vene koncept / concept Studio Grupa dizajn postava i deplijana (Filip Despot, Ivana Pavić, Tihana Taraba) / brochure and exhibition design grafički dizajn / graphic design Marijana Gradečak, Katarina Matković Šesnić&Turković montaža videa / video editing kustos / curator Marko Golub Vida Guzmić programiranje i dizajn sučelja / interface design and programming Oleg Šuran Izložba predstavlja proces iza nastanka visećih lampi producent / producer Marko Golub ili_ili kroz različite vidove dokumentacije i prezentacije, a istodobno i reinterpretira sam prostor galerije kao svojevrsni ambijent ili laboratorij koji demonstrira različite mogućnosti i varijacije ovog modularnog dizajnerskog Izložba inicirana serijom intervjua s dizajnerima i arhi- proizvoda. Grupine lampe ili_ili jednostavno su lijep i ra- tektima čiji je aktivni angažman na postavima izložbi bio zigran proizvod. Uz modularnost i mogućnost korisnika poticaj za razgovor o domaćim postavljačkim praksama. da ih sam kombinira te tako realizira onaj višak emotivne Nina Bačun, Ana Dana Beroš, Mario Beusan, Dora Bilić i povezanosti s predmetom, to je njihova dominantna Tina Müller (studio Bilić Müller), Oleg Hržić, Vanja Iilić, karakteristika. Budući da je ovaj proizvod u vrijeme Nikolina Jelavić Mitrović, Željko Kovačić, Damir Prizmić realizacije izložbe u potpunosti zaokupljao svu pažnju i Nika Pavlinek, Marko Rašić i Vedrana Vrabec (Studio Grupe, izložba na neki način pruža uvid u trenutno sta- Rašić) te Marko Šesnić i Goran Turković progovaraju nje tekućeg projekta, demonstrira varijabilnost ili_ili kao o vlastitim iskustvima rada na postavima izložbi, pri- uporabnog predmeta, pokazuje Grupinu posvećenost stupima u rješavanju postava, suradnji s kustosima i stalnom usavršavanju i u konačnici, interpretira galeriju institucijama te komunikaciji s publikom. Izložbom se kao mjesto testiranja proizvoda. promišlja koncept postava u suodnosu s dokumentar- nim materijalom prikupljenim kroz intervju s ciljem The exhibition presents the process behind the develop- otvaranja mjesta za diskusiju o današnjoj ulozi dizajna i ment of the pendant lighting ili_ili using various forms arhitekture u postavima izložbi. of documentation and presentation. It also attempts to reinterpret the very space of the gallery as a kind The exhibition was initiated by a series of interviews of environment or a laboratory which demonstrates with designers and architects whose active engagement different possibilities and variations of this modular in the exhibition setup was an enticement to discuss designer product. Grupa’s lamps ili_ili are simply a beau- local exhibition practices. Nina Bačun, Ana Dana Beroš, tiful and playful product. Along with modularity and Mario Beusan, Dora Bilić and Tina Müller (studio Bilić the possibility for the user to create own combinations, Müller), Oleg Hržić, Vanja Iilić, Nikolina Jelavić Mitrović, realising thus the surplus of emotional attachment to Željko Kovačić, Damir Prizmić and Nika Pavlinek, Mar- the item, this is their predominant feature. Since at the ko Rašić and Vedrana Vrabec (Studio Rašić) and Marko time of the exhibition’s rollout this product was at the Šesnić and Goran Turković talk about their own experi- centre of attention of the Grupa, in a way the exhibition ence of working on the setup of an exhibition, approach- provides an insight into the current state of play of the es taken in solving the exhibition setup, collaboration project, it demonstrates variability of ili_ili as a usable with curators and institutions and communication with item, it shows the Grupa’s commitment to constant the audience. The exhibition rethinks the concept of improvement and, finally, it interprets the gallery as a the setup in correlation with the documented material place for testing products. which was collected through the interviews with the purpose of opening room for a discussion on today’s role of design and architecture in exhibitions.

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Sport, zdravlje, ugostiteljstvo, Transfer 1995. – 2010: otvoreni arhiv obrazovanje, kultura i rad – / Transfer 1995 – 2010: Open archive Stolci iz TMN Jadran 1980-ih / Sports, health, education, culture and labour – v1 5. 12. – 12. 12. 2013. Chairs from the TMN Jadran in the 1980’s v2 10. 1. – 18. 1. 2014. v3 30. 5. – 1. 6. 2014 (Dan D / D-Day) 14. 11. – 26. 11. 2013. [d]razgovor i video projekcija [d]razgovor / [d]talk Mladen Orešić, posvećena Ladislavu Galeti Koraljka Vlajo, Mauro Bastijanić, 26. 11. 2013. / [d]talk and video screening dedicated to Ladislav Galeta: koncept / concept Ivana Borovnjak Gordana Brzović, Radmila Iva Janković, kuriranje, tekstovi, izložbeni postav Olga Majcen, Sunčica Ostojić, 16. 1. 2014. / curation, essays, exhibition design Ivana Borovnjak, Marko Golub koncepcija izložbe grafički dizajn / graphic design Tina Ivezić / exhibition concept fotografije / photographs Bojan Mrđenović Gordana Brzović, Marko Golub suradnici / contributors grafički dizajn / graphic design Mladen Orešić, Anamarija Habjan Dejan Kršić dizajn aplikacija i hardvera / software and hardware design Oleg Šuran suradnica / contributor Mirjana Jakušić vizualni identitet Transfera Izložba je koncentrirana na tri linije proizvoda koje je za / Transfer visual identity tvornicu Jadran 80-ih godina prošlog stoljeća dizajnirao Dinko Cepak Mladen Orešić u suradnji s Marijanom Orešićem – Er- video arhiv / video archive Arhiv HRT goline, Modres i Uni87 te osim samih predmeta uključuje asistent kustosa / curatorial assistant i bogatu arhivsku i novoformiranu fotografsku i video Bojan Krištofić dokumentaciju o procesu njihovog nastanka, kontekstu u kojem su proizvedeni i distribuirani te o njihovoj da- našnjoj sveprisutnosti i prepoznatljivosti. Ono što stolce Ergoline, Modres i Uni87 čini toliko intrigantnima danas Izložba posvećena kultnoj televizijskoj emisiji Transfer, je upravo njihova perzistentna prisutnost u brojnim koja se kroz 15 godina emitiranja na HTV-u profilirala u sferama svakodnevnog života od osamdesetih godina jedinstven medijski i kulturološki fenomen, duboko kada su nastale, pa sve do danas. Paradoks takvog vida isprepleten i integriran sa suvremenom umjetničkom prisutnosti dizajnerskih objekata leži u činjenici da ih scenom koju je pratio. Uz otvoreni video arhiv većine ona istodobno čini i izrazito ikoničkima za kontekste u emisija snimljenih tijekom 15 godina, poseban segment kojima ih se može pronaći, i skrivenima za nesenzibili- izložbe čine projekcije Teorijskih filmova te kronološka ziranog promatrača. kompilacija Transferovih priloga posvećenih dizajnu od sredine 90-ih do kraja 2000-ih. Izložba ujedno nastoji The exhibition focuses on three lines of products de- predstaviti i ikonički intenzitet Transfera, koji se oči- signed by Mladen Orešić in cooperation with Marijan tovao ne samo kroz scenografije Dinka Cepaka te Svena Orešić for the factory Jadran in the 80s of the past cen- Stilinovića i Davora Antolića Antasa, nego i sve vizualne tury – Ergoline, Modres and Uni87. Besides these items, sadržaje koje je Transfer, dokumentirajući ih, upio u sebe the exhibition includes a rich archival and newly formed kao svoj integralan dio. photo and video documentation on the process of their development, the context in which they were produced The exhibition dedicated to the cult TV show Transfer, and distributed and their current omnipresence and which has become a distinctive media and cultural phe- recognisability. What makes the chairs Ergoline, Modres nomenon over the course of its 15 years of broadcasting, and Uni87 so intriguing is their continuous presence deeply interwoven and integrated with contemporary in numerous spheres of everyday life, ever since the art scene it has observed closely. Along with the open eighties when they were first developed until today. The video archives of most episodes created over the course paradox of such form of presence of designer items lies of 15 years, a particular segment of the exhibition is in the fact that it also makes them incredibly iconic made of the projections of Theoretical Films and a for the contexts in which one can find them, as well as chronological compilation of Transfer’s stories on de- hidden for a not-so-sensitive observer. sign dating back to the period between the mid-90s and the mid-00s. The exhibition also seeks to present the iconic intensity of Transfer, which has been evident not only through scenography by Dinko Cepak, Sven Stilinović and Davor Antolić Antas, but also through all visual contents that Transfer absorbed while documenting them, making these its integral part.

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Bor s nama / Christmas Tree Superstore 2013 Javni razgovor o novim registarskim pločicama i registracijskim područjima 14.12. – 30. 12. 2013. / Public talk on the new registration plates and registration areas partneri projekta / project partners Cerovski print boutique, Igepa 23. 12. 2013. inicijalni koncept / initial concept Ira Payer, Koraljka Vlajo moderator / moderator Nikola Radeljković kustos / curator Marko Golub koordinatorica projekta / project co-ordinator Mirjana Jakušić grafički dizajn / graphic design Razgovor povodom javne rasprave o novim registarskim Karla Paliska, Tea Pavić pločicama i registracijskim područjima koju je nedavno dizajn postava / exhibition design Tvrtko Bojić pokrenulo Ministarstvo unutarnjih poslova RH. Stručna ocjenjivački sud / jury javnost je burno reagirala na iznesene prijedloge i činje- Koraljka Vlajo, Mirna Reinprecht, Filip Gordon Frank, nicu da u pripremi prijedloga nije konzultirana stručna Dijana Basta, Nataša Marić zajednica i HDD kao krovna strukovna udruga. Tim povodom je i Upravni odbor HDD-a uputio otvoreno pismo MUP-u. Razgovoru su uz veći broj dizajnera i novinara prisustvovali i predstavnici Ministarstva unutarnjih Peta po redu godišnja izložba posvećena reinterpretaciji poslova, ministar Ranko Ostojić i pomoćnica ministra i redizajnu božićnih i novogodišnjih ukrasa, artikala i Ines Krajčak. U konstruktivnom razgovoru obje strane rekvizita. Osim nagrađenih i uže selekcije dizajnerskih iznijele su svoje argumente, a dizajneri su ponovili sve radova pristiglih na ovogodišnji natječaj te nezaobilazni već poznate kriterije prema kojima ranije predstavljeni HDD-ov blagdanski dućan, ovog puta je prikazan i presjek prijedlozi rješenja nisu zadovoljavajući. najboljih radova na svim natječajima od 2009. do danas. A talk on the occasion of a recent debate on the new Fifth annual exhibition dedicated to the reinterpreta- registration plates and registration areas launched tion and redesign of Christmas and New Year’s trim- by the Croatian Ministry of the Interior. Professional mings, articles and items. Besides the awarded works public reacted sternly to the proposals made and to the and those shortlisted after a selection made within this fact that the professional sphere and HDD (being its year’s competition, and the inevitable HDD’s holiday umbrella professional association) were not consulted shop, this time the exhibition also gives an overview in the preparation of proposals. On this occasion, the of the best works across all competitions since 2009. Managing Board of HDD sent an open letter to the Min- istry. Along with designers and journalists, the talk was attended by the representatives of the Ministry of the Interior, minister Ranko Ostojić and assistant minister Ines Krajčak. During a constructive discussion, both sides expressed their arguments and designers reiter- ated their already familiar criteria according to which the earlier presented proposals were not satisfactory.

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Penguin Book Covers Marko Hrastovec: Potez, slovo, pismo / Marko Hrastovec: Stroke, letter, typeface 21. 1. – 8. 2. 2014. 11. 2. – 25. 2. 2014. [d]razgovor / [d]talk Mirko Ilić – Lettering Large, DAZ, 21. 1. 2014. [d]razgovor / [d]talk Marko Hrastovec, Nikola Đurek, Dejan Dragosavac Ruta, 9. 2. 2014. kustosi / curators Paul Buckley, Mirko Ilić koordinator / co-ordinator Marko Golub koncept / concept Marko Hrastovec dizajn deplijana / brochure design kustos / curator Marko Golub Bojan Krištofić tekstovi / texts Nikola Đurek, Marko Golub dizajn plakata / poster design Nikola Đurek dizajn brošure / brochure design Hrvoje Živčić

Penguin Book Covers je putujuća izložba posvećena koricama knjiga slavne izdavačke kuće Penguin Books s izborom najzanimljivijih naslovnica njihovih izdanja i kratkim tekstovima dizajnera i ilustratora, ali i samih Marko Hrastovec jedan je od mladih dizajnera koji su se pisaca, koji opisuju proces i okolnosti nastanka svake u svom radu ekskluzivno posvetili tipografskom obliko- pojedinačne naslovnice ili serije naslovnica. Izložba vanju u njegovim različitim vidovima, od dizajna pisma, okuplja dizajnerske, ilustratorske i spisateljske dopri- preko crtanja slova, do specifične primjene tipografije u nose autora poput Paula Austera, Nicholas Blechmana, formatu, primjerice, knjige. Izložba je ‘osobni iskaz’ uto- David Byrnea, Briana Cronina, Elizabeth Gilbert, Hanifa liko što njen autor pokušava u prvom licu dati naznake Kureishija, Roseanne Serra, Arta Spiegelmana, Rubena temeljnih točaka vlastitog osobnog i profesionalnog Toleda, Tomera Hanuke, Paula Sahrea, Chrisa Warea, i interesa. Monografska je utoliko što funkcionira i kao mnogih drugih. strukturirani pregled nekih od dosadašnjih ostvarenja. Istraživačka je u segmentu (Dija)kritika) u kojem pro- Penguin Book Covers is a travelling exhibition dedicated matra, evaluira i reinterpretira pronađene primjere to the book covers of the famous publishing house Pen- educirane i needucirane primjene tipografije u svakod- guin Books, with a selection of the most interesting book nevici. Didaktička je pak zato što, služeći se konkretnim covers of their editions and short texts by designers, primjerima, pokušava artikulirati i objasniti samu prob- illustrators and writers, describing the process and cir- lematiku tipografskog oblikovanja općenito. cumstances in which each book cover or a series of book covers was developed. The exhibition gathers designers’, Marko Hrastovec is a young designer who dedicated illustrators’ and writers’ contributions of authors such his work to typography in its various forms, from as Paul Auster, Nicholas Blechman, David Byrne, Brian typeface design, letter design, to specific application Cronin, Elizabeth Gilbert, Hanif Kureishi, Roseanne of typefaces in a format, of a book for instance. The Serra, Art Spiegelman, Ruben Toledo, Tomer Hanuka, exhibition is a ‘personal statement’ in so much as the Paul Sahre, Chris Ware and many others. designer attempts to provide indications of the basic points of his personal and professional interest using the first-person point of view. It is also monographic as it functions like a structured overview of some of his achievements up to this date. It is exploratory in the segment (Dia)critics) in which it observes, evaluates and reinterprets the detected examples of educated and uneducated application of typography in everyday life. It is yet didactic because, using concrete examples, it seeks to articulate and explain the problems relative to typographic design in general.

aktivnosti u organizaciji hrvatskog dizajnerskog društva 450 croatian design review 1314

Anatomija projekta Millenium Diamond: Dozvoljeno plakatiranje / Posters allowed dizajn i inženjerstvo putničkog katamarana / Anatomy of the Millenium Diamond: v.1 27. 3. – 15. 4. 2014. design and engineering of the passenger v.2 30. 5. – 1. 6. 2014. (Dan D / D-Day) catamaran [d]razgovor / [d]talk 6. 3. – 20. 3. 2014. Ivan Dorotić, Ivor Tomljanović, 10. 4. 2014.

koncept / concept Ivana Peko, Marko Golub, koncept projekta / project concept Ivan Dorotić Mislav Bezovnik, Bojan Krištofić kustos / curator Marko Golub grafički dizajn / graphic design Bojan Krištofić asistent kustosa/ curatorial assistant Bojan Krištofić grafički dizajn / graphic design Ivor Tomljanović

Izložba je koncipirana kako bi u galerijskom okruženju istaknula i dodatno rasvijetlila kvalitete ovog kompleksnog dizajnersko-inženjerskog projekta kroz nekoliko Izložba je predstavila do tada realizirane autorske ra- razina prezentacije, ne samo finalnog proizvoda, nego i dove nastale u sklopu projekta Plakatiranje koji je 2013. cjelokupnog procesa kroz koji je nastajao, parametara un- pokrenuo portal Vizkultura. Izložba je pojačala i pot- utar kojih je osmišljavan i specifičnih inovativnih rješenja vrdila zavidan odjek projekta koji leži upravo u sim- za pojedine njegove segmente i sustave. Namjera joj je boličnom pozivu na ponovno osvajanje javnog prostora pokazati kako funkcionira dinamika multidisciplinarne i na rehabilitiranje plakata kao nekad moćnog, a danas suradnje na složenim projektima poput ovoga i koja je marginaliziranog medija, degradiranog oglašivačkim uloga dizajnera u njima, ali i na kakve je sve projektne klišejima i izguranog s ulica u korist agresivnih billboar- zahtjeve i ograničenja tim morao odgovoriti te s kojim da ili tragikomičnih kanti za smeće koje se odnedavno se rizicima suočavao. prodaju pod oglasni prostor. Predstavljeno je 56 argume- nata koji kažu kako plakat i dalje ima sugestivnu snagu The exhibition intends to use the gallery surroundings zavođenja, provokacije, konfrontacije, senzibiliziranja to emphasize and shed additional light on the qualities javnosti, stimuliranja mašte i osvještavanja začudnog of this complex design and engineering project by us- u svakodnevici. ing several levels of presentation of not just the final product but also of the overall process behind its devel- The exhibition presents all works realised up to date opment, parameters within which it was envisaged and which were developed as part of the project Plakatiranje specific innovative solutions for its specific segments launched in 2013 by the portal Vizkultura. This exhibi- and systems. Its purpose is to show how the dynamics tion enhances and confirms praiseworthy repercussions of a multidisciplinary form of collaboration works on of the project that lie in a symbolic invitation to re-con- complex projects such as this one and what the role of quer public space and resuscitate posters as once a po- designers is in these. However, it also strives to point to tent and nowadays a marginalised medium, degraded by all project requirements and limitations the team had advertising clichés, pushed out of the streets in favour to meet and all the risks it had to face. of aggressive billboards or tragicomic waste bins which have as of recently been sold as an advertising space. The exhibition presents 56 arguments clearly indicating that posters have preserved their suggestive power to seduce, provoke, confront, raise public awareness, stimulate imagination and raise awareness as to the wondrous in everyday life.

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(Est)etika nacionalizma – dizajn za turbo-folk Sanja Rotter: Woodoir / (Aest)ethics of nationalism – design for turbo-folk 15. 5. – 31. 5. 2014. v.1 6. 5. – 13. 5. 2014. v.2 30. 5. – 1. 6. 2014. (Dan D / D-Day) koncept / concept Sanja Rotter grafički dizajn / graphic design koncept izložbe / exhibition concept Dario Dević & Hrvoje Živčić Bojan Krištofić tekst / text Damir Bralić producent / producer Marko Golub kustos / curator Marko Golub asistent custosa / curatorial assistant Bojan Krištofić

Osnovna ideja izložbe bila je analizirati turbo-folk supkulturu, s temeljima u glazbenom izrazu karakteris- tičnom za srpski društveni kontekst 90-ih godina, kao Izložba je obuhvatila razgranatu stvaralačku aktivnost estetski i semantički najpotpuniji izraz nacionalističke ove vrlo mlade autorice unazad posljednjih nekoliko ideologije u post-jugoslavenskoj popularnoj kulturi, koji godina, koja je sva u znaku intenzivne posvećenosti radu je svoj pandan u hrvatskom okruženju imao u ‘cro-dan- u drvu, s drvom i za drvo; te što potpunijem upozna- ceu’, te popularnim ratničkim i patriotskim budnicama vanju sa zakonitostima obrade i njege ovog prirodnog iz prve polovice 90-ih godina – razdoblja ratova u bivšoj materijala. U sklopu izložbe predstavljaju se najznačajniji Jugoslaviji. recentniji Sanjini projekti, čime se logično i dosljedno ilustrira razvoj originalne metodologije njezinog rada, The main idea of the exhibition is to analyse turbo-folk zahvaljujući kojoj je na lokalnoj dizajnerskoj sceni pre- subculture whose foundations lie in the musical expres- poznata kao jedno od najosebujnijih mladih imena. sion typical of the Serbian social context of the 90s. It is seen as the aesthetically and semantically amplest The exhibition covers a ramified creative activity of this expression of nationalist ideology in post-Yugoslavian very young designer in the past few years, which has popular culture, whose matching expression in Croatia been intensely dedicated to works ‘in wood, with wood could be observed in ‘Cro-dance’ and popular war and and for wood’; and to a detailed explanation of the rules patriot songs of the first half of the 90s – the period of of treating and nurturing this natural material. The exhi- civil wars in ex-Yugoslavia. bition shows the most significant recent Sanja’s projects, which illustrate in a logical and consistent manner the development of the original method of her work thanks to which she has been recognised on the local designer scene as one of the most outstanding young designers.

aktivnosti u organizaciji hrvatskog dizajnerskog društva 452 croatian design review 1314

Odjel za dizajn nakita Sveučilišta u Edu program Dana D 2014 Johannesburgu – prezentacija – prezentacija i jednodnevna izložba i jednodnevna izložba / D-Day Edu programme / Jewelry design department, University – presentation and one-day exhibition of Johannesburg – presentation and one-day exhibition 1. 7. 2014.

18. 6. 2014. moderatori / moderators Marko Golub, Luka Borčić organizatori / organisers sudionici / participants Institut za povijest umjetnosti Deborah Hustić, Mia Bogovac, Barbara Majnarić, i Hrvatsko dizajnersko društvo Karla Paliska, Maša Milovac / Institute for Art History, Croatian Designers Association koordinatori / co-ordinators Ljiljana Kolešnik, Judy Peter, Marko Golub U kontekstu ovogodišnjeg Dana D koji se bavio rubnim dizajn deplijana / brochure design područjima dizajnerskog djelovanja, težnja zasebno Bojan Krištofić osmišljenog EDU programa bila je osvijestiti studente, mlade autore, dizajn-entuzijaste, ali i široku javnost o ulozi dizajna u društvu; te ih potaknuti na istraživanje i interdisciplinarnu suradnju s akterima iz drugih pod- Na jednodnevnoj izložbi i prezentaciji u HDD galeriji stu- ručja društvenih djelatnosti. EDU program odvijao se tije- denti završne godine studija na Odjelu za dizajn nakita kom tri uzastopna dana sa sveukupno šest radionica koje Fakulteta za umjetnost, dizajn i arhitekturu Sveučilišta u su se, kao i ostatak programa Dana D, održale u bivšoj Johannesburgu pokazali su dio svoje produkcije, nastale vojnoj bolnici u Vlaškoj ulici. Izložbom i diskusijom pred- kao rezultat istraživanja lokalnih oblikovnih tradicija i stavljeni su rezultati samih radionica, koji se nisu mogli pokušaja njihove suvremene interpretacije. vidjeti tijekom trajanja samog festivala Dan D, budući da su tada radionice još bile u tijeku. During a one-day exhibition and presentation in HDD gallery, the students of the final year of the course of In the context of this year’s D-Day, which dealt with studies in Jewellery Design at the Faculty of Art, De- marginal areas of designer activity, the separately envis- sign and Architecture of the University of Johannesburg aged EDU programme sought to raise awareness among showed a part of their manufacture which stemmed students, young designers, design-enthusiasts, as well as from the research of local designer traditions and at- public at large, on the role of design in the society; the tempts to interpret these in a contemporary way. aim was also to stimulate them to undertake research and interdisciplinary collaboration with stakeholders from other areas of social activity. The EDU programme took place over the course of three consecutive days, with a total of six workshops which were, as well as the rest of the D-Day programme, held in the former military hospital in Vlaška Street. The exhibition and discussion presented the results of workshops unavailable during the D-Day Festival, as the workshops were still underway.

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Dizajnerska početnica / Design 101

Radionice vode renomirani dizajneri iz svih područja Radionice realizirane od rujna 2012. do lipnja 2014. dizajnerskog djelovanja, s naglaskom na grafičkom diza- / The list of workshops realized from jnu i produkt dizajnu. Cilj radionica je upoznati djecu s September 2012 to June 2014 osnovama dizajna i njegovom utjecaju i važnosti za svakodnevni život kroz stvarnu realizaciju jednog dizajner- Maja Mesić skog projekta, odnosno kreativnog procesa. Radionice Bojajmo boyama, 24.11.2012. potiču djecu na kreativno razmišljanje i umjetničko / Let's colour with the Boya colouring pencils, izražavanje, konceptualno promišljanje konkretnih za- 24 November 2012 dataka, uvažavanje ograničenja i okolnosti te razvijanje vizualne pismenosti i sposobnosti opažanja neobičnog, Petra Križan nestandardnog i poetskog u svakodnevici. Sve radionice Gumi gumi (Dan D), 16. 6. 2013. tematski su koncipirane u odnosu na: određeni materijal / Gumi gumi (D-Day), 16 June 2013 i njegove karakteristike, specifične dizajnerske tipove zadataka prilagođene dječjem uzrastu, ili teme društ- Ada Kezić venog i angažiranog karaktera. Dizajnerka početnica Ležaljka (Dan D), 16. 6. 2013. je od 2014. uključena u program Ruksak pun kulture. / A hammock (D-Day), 16 June 2013 Voditeljica projekta do siječnja 2013. bila je Izvorka Jurić uz koordinaciju Mirjane Jakušić, a od siječnja 2013. do Miranda Herceg danas projekt vodi Maja Subotić. Znakovito (Dan D), 16. 6. 2013. / The significant (D-Day), 16 June 2013 All workshops were organized in collaboration with renowned designers from various fields of design with a Boris Ljubičić special focus on graphic and product design. The aim of Radimo zastavu, 14.9.2013. the workshops was to introduce children to design and / Let's make a flag, 14 September 2013 show how it influences and play a key role in everyday life through practical work on a selected design project Jelena Gvozdanović or creative process. Workshops stimulate children to Od svitka do ovitka, 21.9.2013. think creatively and express themself artistically but / From scrolls to covers, 21 September 2013 also to analyse concepts for concrete project tasks accepting limitations and circumstances at the same time Marko Pavlović developing visual literacy and capability to notice the Kreativne slagalice, 28.9.2013. unusual, non-standard and poetic in everyday life. All / Creative jigsaws, 28 September 2013 workshops are organized according to different topic resulting from a particular material or its characteris- Maša Poljanec i Nina Bačun tics, specific designer types of tasks adapted to young Fun Fan Zine, 5.10.2013. age. Topics are sometimes socially engaged. The De- / Fun Fan Zine, 5 October 2013 sign Handbook is a part of the Backpack Full of Culture (Ruksak pun kulture) programme as of 2014. Izvorka Maja Subotić Jurić was the head of the project until January 2013 with Moć boje, 12.10.2013. Mirjana Jakušić as the programme's coordinator. From / The power of colours, 12 October 2013 January 2013 until present date the head of the project is Maja Subotić. Damir Prizmić Leteći listovi, 19.10.2013. / Flying leaves, 19 October 2013

Nikola Đurek i marko hrastovec Potpiši se monogramom, 26.10.2013. / Sign your name with a monogram, 26 October 2013

Maja Matas i Darija Cipriš Psssst! To je tajna!, 2.11.2013. / Psssst! It's a secret!, 2 November 2013

Ksenija Jurinec Transformerski stolci, 9.11.2013. / Transformer chairs, 9 November 2013

Izvorka Jurić Pakiraonica, 16.11.2013. / Packaging shop, 16 November 2013

Danijela Domljan Dizajnersko crtanje, 23.11.2013. / Designer drawing, 23 November 2013

Davor Šunk Ilustracija za sve, 30.11.2013. / Ilustration for everything , 30 November 2013

aktivnosti u organizaciji hrvatskog dizajnerskog društva 454 croatian design review 1314

Zahvala

Ines Vlahović Organizaciju svih ovih događanja podržale su mnoge Samoljepljiva radionica, 7.12.2013. institucije, tvrtke i pojedinci. HDD im se najiskrenije / Sticky workshop, 7 December 2013 zahvaljuje. Budite s nama i dalje u našim projektima.

Danijela Domljan Ministarstvo kulture RH, Grad Zagreb, Zaklada Kultura Dizajnersko crtanje, 1. 2. 2014. nova, Cerovski Print Boutique, Arskopija, Igepa-plana / Designer drawing /1 February 2014 papiri, Stega tisak, Adria papir, Turistička zajednica Gra- da Zagreba, British Council Croatia, Talijanski institut Ada Kezić za kulturu, Zaklada Adris, Maistra, CADD print, Hrvat- Eco Furniture, 15. 2. 2014. ska obrtnička komora, HGK Centar za dizajn, Mirko Ilić, / Eco Furniture, 15 February 2014 Dejan Kršić, Koraljka Vlajo, Mladen Orešić, Luka Borčić, Tvrtko Bojić, Branko Bačun, Neven Kovačić, Boris Ljubi- Marko Pavlović čić, Nevena Tudor Perković, Maroje Mrduljaš, Stanislav Kako dobar plakat!, 22. 2. 2014. Habjan, Anamarija Habjan, Tihana Mikša Perković, Ivan / What a great poster!, 22 February 2014 Dorotić, Antun Maračić, G-MK, Institut za suvremenu umjetnost, Veleposlanstvo Kraljevine Nizozemske, Ve- Izvorka Jurić leposlanstvo Republike Češke, Jamnica, Box ambalaža, Pozelenite od dizajna, 1. 3. 2014. Iskon, Muzej suvremene umjetnosti, T-portal, Vizkultu- / Get green from design, 1 March 2014 ra, Organizam, Ured za ravnopravnost spolova Vlade RH, HRT, Studij dizajna, UMAS, Restoran Sorriso, Lari i penati, Miranda Herceg Samsung, Apcom, i brojni drugi pojedinci i institucije. Signalizacija – igra riječi i forme, 15. 3. 2014. / Signalization – game of words and forms, 15 March 2014

Tihana Mikša Perković re:Weave, 22. 3. 2014. / re:Weave, 22 March 2014

Maja Matas Znam znak, 29. 3. 2014. / I know the sign, 29 March 2014

Vanessa Šerka i Josipa Tadić Bez pravila (Dan D), 1. 6. 2014. / Without rules (D-Day), 1 June 2014

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Kazalo / Index

_ured Nina Bačun Bioinventa Damir Bralić 74 121, 289, 304, 341, 352 266 9, 13, 147, 163, 176, 186, 308, 368 – 369, 371, 373 25 FPS Ema Baćanović Biovega – 374, 377 – 378, 380, 384 – 248 341 127 385, 407, 422

5/4 Davor Bagarić Andreja Bistričić Brandoctor 242 259 280, 325 127 – 128

Adris grupa, 178 Maja Bagić Barić Iris Biškupić Bašić Maja Braović ADU 88, 89, 119 313 391 98 Mara Balestrini Tanja Bjelić Roberta Bratović Adweek Magazine 342 175 289, 304, 352 116 – 117 Ana Baletić Petra Blažinčić Marija Braut Gorjan Agačević 220, 305 341 203 258 Jelena Bando Blok Stipe Brčić Agroproteinka 341 113 365, 417, 421, 423 – 424 126 Ana Banić Gottlicher Vanja Blumenšajn Brigada Srđana Alač 353 150, 230 127 – 128, 267, 305 – 306, 128 340 Sabina Barbiš Mia Bogovac Slobodan Alavanja 130 280 – 281, 315 Matea Brkić Slobich 379 202 Tatjana Bartaković Nikola Bojić 139, 192, 209 341 Marina Brletić Sead Alić 127, 305 – 306, 340 163 Batahovina Foundation Tamara Bombardelli Liechtenstein 322, 323 Brlog Mario Aničić 134 128, 242 – 244, 339 74 Rex Bonomelli Anja Bauer Minkara 118 Božidarka Brnas Ivan Antunović 127, 128 218 – 219 336, 337 Želimir Boras Darko Bavoljak 125, 175, 188 – 189 Martina Brnić Arhitektura i arheologija 138 75 156 Ian Borčić Jasmina Bavoljak 126 Brokula&Ž Ana Armano Linta 138 128, 243 279 Luka Borčić Sanja Begović 365, 417, 421 – 424 Matea Bronić Veljko Armano Linta 340 177, 280 – 281, 303, 315 279 Ljiljana Borovečki Voska Ana Belić 191 Davor Bruketa Artisan 77, 129 127 – 128, 178, 221, 305, 10, 14, 58, 60, 283 – 286 Ivana Borovnjak 340 Sanja Bencetić 7, 289, 304, 338, 352 Atom design 396, 403 Bruketa&Žinić OM 120, 300 Anja Bošnjak 75 – 77, 127 – 129, 178, 220 Maja Benčić 388 – 221, 305, 306, 340 Autonomna tvornica 128 kulture Boubish Cecilia Brynskov 182 Vanja Bertalan 150 215 262 – 263 David Azinović Sara Božanić Martin Brynskov 279 Bestias 342 215 218 – 219 Bruno Babić Brachia Anta Bučević 243 Bijeli val 227 406 176, 183 Mateja Babić Aljoša Brajdić Ivan Buća 317, 218 Dora Bilić 363 135 122 – 124, 170 – 174, 301 Babushke – 302 Ivana Brajdić Saša Budimir 341 151, 154 – 155, 332 258 Matej Bilić Tessa Bachrach Krištofić 234 Valentina Bugarin 370, 402, 414 76, 129, 178, 340

kazalo 456 croatian design review 1314

Bunch Ivana Čukelj Drugo more Etnografski muzej 341 187 74, 162 Zagreb 313 Željka Burić Ivana Ćavar Drugo uho 192 279 341 Damir Fabijanić 187, 259 Calvert 22 Foundation Iva Ćurić Društvo hrvatskih London 140 filmskih redatelja Ivana Fabrio 184 210 258, 319, 396 – 397, 403, Dani hrvatskog filma 416, 419 Casanova 148 Ivana Drvar 103 – 104 77, 340 Fahrenheit Data by Despot 341 Lana Cavar 268 Drvni klaster SZ 163, 165, 179, 307, 357 Hrvatske Fakultet za medije i Romano Decker 274 komunikacije, Beograd 203 213 Cenzura plus Dubrovačke ljetne igre 120, 169 Departamento de 108 Doris Fatur Ficcion 158, 225 Cerovski print boutique 195 Marko Dugonjić 178, 455 245 Fazan publishing, Aarhus Mario Depicolzuane 215 Lorenzo Cetina 130 Dujmenović & Mlinarić 305 – 306 341 Mauricio Ferlin Filip Despot 159, 197, 309 Clox 271, 272 Dutch Art Institute 324 205 Festival mediteranskog Petra Despot filma Split Cojones 127 – 128, 229 Hrvoje Đukez 87 224 343 Svjetlana Despot Fiktiv Florian Cramer 268 Zoran Đukić 341 420 81, 133 – 136, 185 Dario Dević Flomaster Creative nights 79 – 80, 113, 176, 180, 182, Đukićpavlović 188 – 189, 222 – 223, 341 245 246 81, 133 – 136, 150, 185, 341 Franić & Steković Niko Crnčević Ivan Dilberović Vesna Đurašin 341 355, 396 – 397, 406 131 128 – 129, 221 Filip Gordon Frank Marin Crnković Dioralop Nikola Đurek 269 – 270 262 135, 280, 325 9, 13, 147, 163, 176, 186, 192, 214, 236 – 237, 246, Adi Franković Ozren Crnogorac Diversus res 308, 341, 344, 355, 368 – 96, 355, 363 258 145 368, 371, 373 – 385, 407 Orsat Franković Vanja Cuculić Dobra berba Dora Đurkesac 188, 189, 222 – 223, 341 32, 54, 56, 78, 319 225 133, 280 – 281 Hrvoje Franjić Bronwyn Cumbo Dokumenta Juan Echeverri 112 342 254 84 Vana Gaćina Marta Curman Jele Dominis Edicta Pharm 140 191 74 232 Galerija Cvajner Nebojša Cvetković Hrvoje Dominko Ekonomski fakultet 96 75 – 76, 127 – 129, 150, 234 Sveučilišta 178, 221 u Zagrebu Galerija Galženica Patrizia Donà 175 207 Aleksandar Cvjetković 326 Kajo Ekstrakt Galerija Klovićevi dvori 258 Ivan Doroghy 112 90, 92, 99 – 100, 138, 140, 362, 370, 372, 414, 418 201, 281 Ivan Čadež Elan 77, 128 – 129 Ivan Dorotić 296 Galerija Kranjčar 341 170, 172 Miro Čavar Karlo Eldić 230 Maja Draganić 258 Galerija likovnih 319 umjetnosti, Osijek Melita Čavović Katarina Eljuga Žižić 141 312 Nedeljko Dragić 312 210 Rustam Galiullin Ivan Čepelak Emanat 167 127 – 129 Dejan Dragosavac Ruta 84, 196 181 – 183 Damir Gamulin Aleksandar Čiković Sandro Engel 82, 83, 190, 310 – 312 319 Slobodan Dragošević 342 389 GDK Gavella Vanja Činić Vedran Erceg 78 128 Tanja Draškić Savić 398 159, 197, 216, 309 Matija Čop Tina Erman Damjan Geber 415 Rafaela Dražić 101 – 104, 231, 260, 354 127 – 128, 267, 305, 306, 184, 247 – 248 340

index 457 Pregled Hrvatskog dizajna 1314

Genos Jelena Gvozdanović Hrvatska radiotelevizija Vedran Jukić 228 228 448 347

Ema Gerovac Anamarija Habjan Hrvatska tiskara slijepih Luka Juras 399 338 140 341

Gigo design Stanislav Habjan Hrvatski državni arhiv Igor Jurić 296 343 106, 144 273

Andro Giunio Ena Hadžić Hrvatski filmski savez Iva Maria Jurić 137, 151 – 155, 163, 224, 342 91, 194, 210 79 266 Marijana Hameršak Hrvatski sabor kulture Izvorka Jurić Lara Glavić Končar 319 149 142, 150, 227 – 228 276 Hamper studio Hrvatsko društvo pisaca Lea Jurin Gliptoteka HAZU 138 – 140, 150, 191 – 192 89, 119 355 107, 305 Chris Hand Hulahop Jagoda Jurišić Gloria Maris 342 202 150 226 HAVC Imaginarium Ena Jurov Goeklektik 188 – 189 135 341 341 Ingi Helgason Improspekcije Marija Juza Marko Golub 342 133 147, 213, 344 – 345 9, 13, 45, 338, 348 Andrea Hercog Institut Français David Kabalin Carlos J. Gomez 400 152 305 – 306 de Ilarena 342 Institut za etnologiju Kabinet grafike HAZU Nicole Hewitt i folkloristiku 208 Ron Goodman 190 176 116 – 117 Tomislav Jurica Kaćunić HGK – Hrvatska Istarsko narodno 138 – 140, 191 – 192 Maja Gorianc Čumbrek gospodarska komora kazalište 318 139, 275 84, 110, 393 Tin Kadoić 34, 62, 64, 128, 242 – 244, Grad Dubrovnik Žana Hinek Istraturist 339 136 127 129 Romana Kajp Grad Labin Hrvoje Hiršl Tina Ivezić 225, 406 311 193 – 195, 249 – 250 84, 196, 197, 289, 304, 309, 338, 352 Emilija Kalajžić Grad Zagreb HKD teatar, Rijeka 218 308, 347 82, 199 Damir Jakopčević 142 Iva Kaligarić Gradska knjižnica Poreč HNK – Hrvatsko narodno 150, 230 101, 102, 217, 354 kazalište Zagreb Maja Jandrić 105 400 Selma Kanazir Gradski muzej Vukovar 258, 319 314 Mads Hobye Dunja Janković 342 341 Sanela Kapetanović Lana Grahek 128 176, 368, 371 – 374, 380, Igor Hofbauer Slavko Janjić 406 182 263 Zlatko Kapetanović 397, 400 Krešo Grancarić Heather Hopp – Bruce Petra Jelaska 341 115 416 Vedran Kasap 258, 319, 398, 401 – 402, Tomislav Grbin Hostel forum Zadar Nikolina Jelavić Mitrović 406 252 310 140, 313 – 314 Tanja Katić Sviličić Great Circle works Inc. Marko Hrastovec Sanda Jeličić 266 Toronto 176, 199, 213, 236 131 290 Stefano Katunar Luka Hrgović Kristina Jeren 158 Martin Grubić 341 305 – 306 319 Kazalište slijepih i Aleksandar Hrib Mateja Jocić slabovidnih Novi život Predrag Grubić 180 341 93 178 Melita Hrustić Marko Jovanovac Karlo Kazinoti Margita Grubiša 310 141, 226, 251 85 – 87 311, 353 Iva Hrvatin Goran Jovanović Srđan Keča Lana Gruić Vitas 151, 155, 211 121 180 120, 169, 300 Hrvatska biskupska Zrinka Jugec Keira Grupa products konferencija 127, 129, 178, 305, 340 273 33, 256, 271 186 Grupa studio Marina Jukić Tena Kelemen 256, 271, 272 Hrvatska gorska služba 153 – 155, 417 234 spašavanja 339

kazalo 458 croatian design review 1314

Ada Kezić Ana Kovačić Scott Kurowski Manufakturist 274 140, 258, 319 290 280 – 281, 315

Kino klub Split Neven Kovačić Ninoslav Kušter Jasna Manzoni 194 139, 291 – 292, 347, 399 318 339

Kinoklub Zagreb Petra Kovačić Dejan Kutić Željko Marciuš 79, 97 140 203 316 – 317

Kinorama Sanja Kovačić Sanja Kuzmanović Ljubica Marčetić 109 291 – 292 151, 154 – 155 Marinović 366 – 367 Iris Klarić Kozmo Kvadra 407, 418 235 10, 14, 58, 60, 192, 209, Mia Marić 272, 287 – 288, 291 – 292 145, 229, 324 Tonči Klarić Nives Kozulić 339 312 Ana Labudović Ružica Marić 95, 203, 256, 341 314 Dijana Klasić Mario Kralj 191 242 Ksenija Ladić Marivo 249 141, 226, 251 Željka Klemenčić Eva Kraljević 151 203 Lado Dominik Markušić 76 362 Vedran Klemens Tomislav Kraljević 114 218 – 219 Dragan Lakićević Natalija Martinčević 127, 129 166 Ivan Klisurić Nenad Kraljić 150 260 Dražen Lapić Damir Martinec 274 318 KM – Halle für Kunst & Bojan Krištofić Medien, Graz 39, 348 Srđan Laterza Nadja Maruša Hren 171 128, 242 – 243, 339 196 Saša Krivak Knjižnice Grada Zagreba 127 Ledikdent dentalni Mauro Massarotto 81 centar 333 Angela Marija Križanac 142 Ko:ke kreativna farma 226 Zlatko Mašek 88 – 89 Lei Lei 257 Nikola Križanac 202 Darko Kokić 375 – 376, 381 Assunta Matassa 364, 392 Vlatka Leskovar 342 Morana Krklec 419 Maja Kolar 328 Ivo Matić 289, 304, 352 Tena Letica Tkalčević 319 Marino Krstačić Furić 319 Mario Kolarić 161 – 162 Marija Matijašec 134 Marko Lokas 192 Dejan Kršić 256, 263 Branko Kolesarić 199, 214 Marko Matijašević 262 – 263 Mario Lončarić 76, 128 Marko Kršul 128, 242 – 244, 339 Draga Komparak 262 Bojan Matoš 275, 346 Tomislav Lončarić 143, 278 Mario Kučera 319 Vladimir Končar 230 Vladimir Mattioni 257 – 259, 319 Lošinj Hotels & Villas 312 Igor Kuduz 143 Jasminka Končić 36, 90 – 92, 163, 200 – 201, Duje Medić 415 349 Jelena Lukač Kirš 140 345 Kontejner Luka Kuharić Elvis Mehmedović 181 143, 278 Franko Lukež 252 309 Koordinacija istarskih Pavao Kuharić Memorijalni centar Faust muzeja 143 Ljama studio Vrančić 197, 309 318 157 Kuharić Matoš Dragan Kordić 143, 278 Boris Ljubičić Maja Merlić 355 11, 15, 144 280, 325 Nada Kujundžić Stanislav Kostić 258, 319 Ivanka Mabić Marina Mesar 406 76 – 77, 129 307 Kuna Zlatica Irena Kotiga 93, 94, 202, 341, 350 Maistra Maja Mesić 101 – 104, 231, 260, 354 129, 165, 307 282 Ana Kunej Krunoslav Kovač 93, 94, 202, 341, 350 Zvonko Maković Jelena Mezga 227 317 127, 128 Domagoj Kunić Berislav Kovačević 139, 192, 209, 260 Igor Manasteriotti Micica 410 145, 168, 229, 324 158 Lina Kovačević Ivan Kunjašić 341 390 Manasteriotti&Marić Nataša Mihaljčišin 145, 150, 229, 341 327

index 459 Pregled Hrvatskog dizajna 1314

Niko Mihaljević Maroje Mrduljaš Novena Sara Pavleković Preis 146, 163, 204 – 205, 21, 25, 312 318 401 253 – 254 Bojan Mrđenović Lidija Novosel Jan Pavlović Jelena Mihelčić 338 206 81, 133 – 136 128 Sandra Mrkšić Numen/For Use Marko Pavlović Nedjeljko Mikac 341 287 – 288 290 138 Pero Mrnarević O.N.E. Ira Payer Zoran Mikletić 313 – 314, 351 244 151 – 155, 211, 332 260 Muzej suvremene Oaza Maja Danica Pečanić Tihana Mikša Perković umjetnosti 289, 304, 341, 352 227 – 228, 230 329 155, 173, 200, 257, 332 Oceanmore Andi Pekica Marina Milanović Petar Mudnić Cerineo 211 215, 261 234 151, 154, 266 Offstudio Lea Pelivan Ivan Milas Lana Mujičić 353 310 391 127 Oko Zrinka Penava Dogan Boris Miletić Tina Müller 341 132 150 122, 123, 124, 170, 171, 172, 173, 174, 301, 302 Bojan Opačak Martin Peranović Dragan Mileusnić 234 422 210 Multimedijalni institut Zagreb Općina Križ Jelena Perišić Petra Milički 247 153 392 254, 420 Neven Muretić Općina Matulji Ana Pernar Maša Milovac 337 353 188, 222 – 223 280 – 281, 315 Mario Muštra OPG Daničić Suđurac Mladen Perušić Ministarstvo kulture 151 222 – 223 318 i informisanja RS 180 Muzej grada Zagreba OPG Jemin Vlaho Mario Petrak 122, 301 – 302 229 388 Ministarstvo kulture RH 152 Muzej Lapidarium, OPG Matković Pierre Vally teatar Novigrad 230 111 Mireldy 198 150, 341 OPG Vukina Maro Pitarević Muzej moderne i 220 108 Mario Mirković suvremene umjetnosti Mladen Orešić 319 Rijeka 338, 396, 398 – 400, Toma Pleić 161 402 – 403, 416, 419 310 Ivica Mitrović 160, 214, 342, 364, 390 Muzej primenjene Vanja Osredečki Podravka – 391 umetnosti Beograd 129 263 180 Luka Mjeda Marko Ostrež Marko Pogačar 139 Muzej suvremene 77, 128, 221 303 umjetnosti Mjestimice svjetlo 155, 173, 200, 257, 332 Andrea Palašti Iris Poljan 255 180 317 – 318 Muzej za umjetnost MKF&AT i obrt Karla Paliska Maša Poljanec 341 124, 174 148, 421 152, 289, 304, 352

Drago Mlakar Zrinka Nedeljković Mislav Paparella Filip Pomykalo 77, 178, 340 297 248 341

MMC Luka, Pula Martina Nemčić Paprenjak Poop Studio 123 252 234 341

Moderna galerija, Zagreb Karmen Nenadić Parabureau Sean Poropat 317 140 147 101 – 104, 231, 260, 354

Srđana Modrinić aka Lucija Ničeno Robert Pauletta Maja Posavec Booboo Tannenbaum 397 309 319 319, 341 Zlatko Nikolić Davor Pavelić Igor Poturić Guilhenn Monceaux 180 115 – 118 165 341 no42 Ivana Pavić Luka Predragović Simon Morasi Piperčić 256 33, 271 – 272 307 127, 128, 267, 305, 306 Dražen Novak 129 Tea Pavić Stjepan Prelec Oleg Morović 148 263 96, 110, 215, 261 Ruđer Novak Mikulić 234, 283 – 286 Zvonimir Pavković Igor Presečan MOTA, Ljubljana 314 311 250 Elizabeta Novaković 107

kazalo 460 croatian design review 1314

Luka Prinčić Re – new digital arts Skroz Sudar produkt 196 festival 353 297 193 Printera grupa Igor Sladoljev Suha Punta 140 Tobias Revell 180 233 342 Damir Prizmić Višen Slamar Superstudio29 149, 207, 341 Nina Režek Wilson 260 150 – 155, 211, 332, 341 410 Tanja Prlenda Michael Smyth Andrea Sužnjević 126, 341 Vanja Rister 342 107 397 Prostoria SNV (Srpsko narodno Sveučilište Jurja 58, 60, 209, Rizman vijeće) Dobrile u Puli 287 – 288, 345 219 147 216

Marko Prpić Zets Nenad Roban Ana Somek Sveučilište Sjever, 341 330 234 Koprivnica 10, 163 Stelios Psaltis Miro Roman Sonda 293 293 101 – 104, 231, 260, 296, Sveučilište u Splitu 341, 354 315 Danijela Pudar Šoše Dina Rončević 215 260 Sven Sorić Tomislav Šabić Bastalec 341 249 – 250 Pula film festival Rootylicious 260 341 Hrvoje Spudić Vjeran Šalamon 341 319 Guido Quien Mia Roth Čerina 203 397 Danijel Srdarev Marin Šantić 89, 119, 170 212 Mila Radan Sanja Rotter 300 294 – 295, 331 Sretan bor Timy Šarec 341 341 Toni Radan Marija Ružić 300 283 – 286 Ivan Sršen Domagoj Šarić 121 266 Nikola Radeljković Mislav Ružić 192 256 Marina Stančev Marija Šarušić 128 306 Radovan Radičević Zoran Sabić 76 – 77, 128, 138, 178, 220 340 Igor Stanišljević Alma Šavar 147 369, 377 – 378, Kaja Radić Liduška Salaba 383 – 384, 406 391 140 Goran Stojnić 258 Petra Šemnički Ileana Radojević Marko Salapura 191 225 180 Ante Z. Stolica 341 Marko Šesnić Imelda Ramović Zlatka Salopek 105 – 109, 156 – 158, 150 93 – 94, 202, 350 Boris Strahija 232 – 233 247 Matija Raos Sandorf Šesnić&Turković 341 179 Studio Bilić_Müller 105 – 109, 150, 156 – 158, 122 – 124, 170 – 174, 232 – 233, 341 Mirko Rastić Satiričko kazalište 301 – 302 88, 182 Kerempuh Jelena Šimunović 83 Studio Borčić 101 – 104, 231, 260, 354 Ante Rašić 341 317 – 318 Darko Schneider Goran Škofić 203 Studio Cuculić 260 Marko Rašić 78 316 – 318 Señor Škver 150,230 Studio Dogan 146 Rational International 132 234 Sensus Design Factory Ana Šolić 99 – 100, 208 – 209 Studio I – gle 397 Dragana Lucija Ratković 327 Aydemir Željko Serdarević Goran Šoša 258, 319 210, 440 Studio Rašić 341 317 – 318 Goran Raukar Antun Sevšek Kristina Špigl Uhrl 189 312 Studio Revolucija 319 257 – 259 Biserka Rauter Plančić Sheriff&Cherry Kristina Špoljar 317 333 Maja Subotić 99 – 100, 208 – 209 355 Redesign Sikkens foundation/ Nedjeljko Špoljar 291 – 292 Artez Press Andrea Sudar 99 – 100, 208 – 209 204 297 Luka Reicher Jakov Šrajer 97 – 98, 213, 382, 423 Martina Sirotić Siniša Sudar 345 102, 104, 231, 354 297 Rem – B Josipa Štefanec 140 415

index 461 Pregled Hrvatskog dizajna 1314

Zoran Šteković Anselmo Tumpić Mihovil Vargović Svjetlana Vukić 256 101 – 104, 231, 260, 354 97 – 98, 385, 424 128, 178

Mateja Štokan Davorka Tumpić Natalija Vasić Zvjezdana Vukić 191 104, 231, 260, 354 313 101 – 104, 231, 260, 354

Ivana Štrukelj Nora Turato Ljiljana Velkovski Maša Vukmanović 235 341 140 353

Jakov Šuran Matija Turčin Vanja Veselić Narcisa Vukojević 309, 364 262 – 263 410 165, 307, 341, 357

Oleg Šuran TZ grada Ogulina Luka Vidoš Daniel Vuković 110, 159 – 160, 213 – 217, 258, 319 390, 393 341 261, 341 – 342, 389 – 390, 393 Tino Turk Vikend revolucija Radovan Vuković 112 125 318 Sonja Šurbatović 129 Goran Turković Jakov Vilović Nikša Vukša 105 – 109, 156 – 158, 256 366 Stipan Tadić 232 – 233 341 Leo Vinković Ivana Vulić Tvornica kruha Zadar 341 192 Ivan Tanić 88 129 Vinoteka Bornstein Siniša Waldinger Typonine 132 132 Tihana Taraba 199, 214 – 215, 33, 271 – 272 236 – 238, 246 Vinski podrum Buzet Web burza 231 262 – 263 Teatar Exit Učenici OŠ August 75 Cesarec Vintage Industrial Bar Werkplaats Typografie iz Krapine 94 i Stedelijk Museum Tehnički muzej 191 Amsterdam 95 Vizkultura 253 Udruga Bijeli val 114, 341 Terina 176, 183 Jelena Zanchi 218 Vlada RH 391 Udruga Konfuzija 154 Terra Immobilien 135 Nikolina Zanoški 130 Ines Vlahović 140 Udruga MAG 356 Davor Teskera 85 – 86 Zarez 256 Luka Vlahović 113 Udruga sa(n)jam knjige 293 The Boston Globe u Istri Zavod za prostorno 115 159 Roman Vlahović uređenje ZŽ 293 312 The New York Times Udruga Sve za nju 118 77 Tomislav Vlainić Igor Zidić 362, 370, 372, 406, 305 Hana Tintor Udruženje arhitekata 414, 418 365 Srbije Dubravka Zima 180 Pero Vojković 319 Tamara Tomažić 150, 341 340 Uha Katarina Zlatec 185 Kristina Volf 255, 341 Miran Tomičić 280 – 281, 315 76, 178, 220 Tajana Ujčić Goran Zmaić 197, 309 Vedrana Vrabec 112 Ana Tomić 316 – 318 161 – 162 Martina Ukić Ivana Žalac 366 – 367, 393 Petra Vrdoljak 311, 353 Ivana Tomić 406 262 ULUPUH Žedno uho festival 206 Martina Vrdoljak 137 Mario Tomiša Ranilović 163 Umjetnički paviljon u 327 Vedran Židanik Zagrebu 252 Ivor Tomljanović 318 Orin Ivan Vrkaš 111, 164 234, 341, 355 Nikola Žinić UNICEF 128 – 129, 221, 305, 340 Petra Tomljanović 340 Sunčana Vrtarić 293 276 Živa muzika UPI2m plus 80 Tri plus grupa 177 Luka Vucić 278 Ozana Ursić 341 Aleksandar Živanov 319, 402 101 – 104, 231, 260, 354 Mirko Trkulja Mia Vučemilović 260 Ivana Validžić 363 Hrvoje Živčić 127 80, 113, 136, 199, 217, Dino Trojak Ivana Vučić 238 – 239, 246, 341 – 342 257 Valtida Piccola 138 – 140, 191 – 192 221 Damir Žižić Sanja Tubak Feđa Vukić 135, 203 243 – 244, 339 305, 417, 421

kazalo 462 croatian design review 1314

Mislav Žugaj 179

Željka Županić 138, 166 – 168, 235

index 463 Pregled Hrvatskog dizajna 1314

Impressum

Pregled hrvatskog dizajna 1314 / croatian design review 1314

izdavač / publisher HDD – Hrvatsko dizajnersko društvo, Zagreb, Boškovićeva 18

za izdavača / on behalf of the publisher Ivana Borovnjak

glavni urednik / editor-in-chief Marko Golub

izvršna urednica / executive editor Mirjana Jakušić

tekstovi / texts Ivana Borovnjak, Vanja Cuculić, Branka Donassy, Marko Golub, Tin Kadoić, Bojan Krištofić, Maroje Mrduljaš, Tihana Taraba

dizajn i prijelom / design and layout Marko Hrastovec (suradnici / contributors: Oleg Šuran, Oleg Morović)

redakcija / redaction M. Golub, M. Jakušić

suradnik / associate Bojan Krištofić

prijevod / translation Mirna Herman Baletić (Language Lab)

slikovni materijali su u vlasništvu autora / ownership of visual material is vested in the original authors

u tekstualna obrazloženja projekata urednički je intervenirano zbog potrebe jasnoće i kraćenja tekstova / project descriptions have been shortened by the editors for reasons of clarity and constraints of space

tisak / print Stega tisak d.o.o. Zagreb

papir / paper Munken Polar 120g/m2 (Igepa-Plana papiri d.o.o. Zagreb)

naklada / circulation 800 kom

mjesto i godina izdanja / place and year of publishing Zagreb, 2014.

ISBN 978-953-6778-09-6

CIP zapis dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 884471.

impressum 464 croatian design review 1314

IZLOŽBA HRVATSKOG DIZAJNA 1314 / THE EXHIBITION OF CROATIAN DESIGN 1314

direktorica / manager Zlatka Salopek

organizacija i koordinacija / organisation and coordination Mirjana Jakušić

Organizacijski tim izložbe / Organisational team Zlatka Salopek, Mirjana Jakušić, Marko Golub, Ivana Borovnjak

partner projekta / project partner Muzej za umjetnost i obrt Miroslav Gašparović (ravnatelj / director), Vesna Ledić (marketing & PR), Fernando Soprano (PR)

međunarodni ocjenjivački sud / international jury Jan Boelen, Vanja Cuculić, Branka Donassy,Tin Kadoić, Igor Kuduz, Tihana Taraba, Armin Vit

dizajn vizualnog identiteta / visual identity design Oleg Šuran, Oleg Morović, Marko Hrastovec

dizajn postava izložbe / exhibition design Neven Kovačić

upravni odbor hdd-a / hdd board Ivana Borovnjak (predsjednica), Igor Kuduz, Nataša Mihaljčišin, Ivica Mitrović, Mirna Ptiček, Nikola Radeljković, Zlatka Salopek

impressum 465